12 Etudes • Villa-Lobos • Andrzej Wilkus
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- เผยแพร่เมื่อ 15 มิ.ย. 2024
- #VillaLobos
Heitor Villa-Lobos (1887 - 1959)
12 Etudes for guitar (1928/1929)
Etude No. 1 in E Minor - Allegro non troppo 00:00
Etude No. 2 in A Major - Allegro 02:03
Etude No. 3 in D Major - Allegro moderato 03:01
Etude No. 4 in G Major - Un peu modéré 05:36
Etude No. 5 in C Major - Andantino 09:11
Etude No. 6 in E Minor - Poco allegro 12:04
Etude No. 7 in E Major - Tres animé 13:42
Etude No. 8 in C-Sharp Minor - Modéré - Lent 16:14
Etude No. 9 in F-Sharp Minor - Très peu animé 19:14
Etude No. 10 in B Minor- Très animé 22:32
Etude No. 11 in E Minor - Lent 26:13
Etude No. 12 In A Minor - Animé 30:20
Andrzej Wilkus, guitar
Recorded at St. Michael's Church
🇫🇮 Turku, 2018
The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to TH-cam, and it will be our care to remove immediately the video accordingly. - เพลง
Here's another performance of the 12 Etudes: th-cam.com/video/tBjcIBfGIsA/w-d-xo.htmlfeature=shared
Finally, someone plays no 1. at a tempo he accurately can.
This is one of the best classical guitar performances I've ever watched.
finally someone that plays N.1 with the right dynamics
Heitor Villa-Lobos is a genius of classical music! 🇧🇷
Fifty five years of watching Classical Guitar and I have found one of the greatest guitarists of the modern era. WOW.
Finalmente Musica da questi studi resi spesso sterili da grandi tecnici...qui c’è tutto un mondo di bellezza ,dinamiche e timbri finalmente svelato!
Superb. Powerful, but still sensitive. My favourite interpreter of the Villa-Lobos studies.
Fantastic
What an inspiration!!! You may not have played a villa lobos etude before, but you cannot miss the mastery of the composer and the player here.
Peças de beleza ímpar e execução impecável! Parabéns ao violonista! 🎶🎶
It's absolutely gorgeous. Perfect Regards from Brasil 🇧🇷🇧🇷
Very good performance! These twelve Etudies are the nightmare to all of us, not only about to play them, but to understand and decrypt the Scores as well!!!
Bravo!!!
I love this rendition so much. I listen to it at least once every two weeks. Very deep interpretation, extra astonishing for someone far away from Brazilian music culture.
Along with a couple of bong hits and you're on your way to Nirvana...
Meu Deus do céu...... Pensei em comentar alguma coisa aqui, mas a cada segundo que passei ouvindo essa obra maravilhosa as poucas palavras que ainda me restavam foram se esvaindo. Obrigado Jesus me permitir ouvir.
This is a masterpiece study played by a real maestro ......
Interpretation magnifique!
Brawo Andrzejku! Marzenie spełnione...
Beautiful playing in a perfect acoustic for the guitar.
Awesome performance. One of the best I’ve seen in a while. Great execution and dynamic range. Beautiful interpretation!
Einfach Genial. Technisch perfekt, aber die Ausdruck und Expresivität sind Prima geschafft worden!!!
Excellence to both you and VL.
I rarely leave a comment, but your performance made me speechless. Bravo, maestro👏
Bravo, Maître!
Sans discussion la meilleure version et de loin ! enfin une version musicale et non pas les 24h du manche !! bravo!!! la première un peu lente mais musicale et bien réalisée, excellent guitariste et musicien ! de plus très bon enregistrement !!
What???? This nr 10??? Can anybody explain? This is absolutely amazing!!! What does Wilkus know that I don't? And now nr 11. Same thing, though not that revolutionary.
Thank you. Spectacular performance!
Superb interpretations of these wonderful competitions, bravo!
Isso, é o próprio universo das possibilidades musicais... e mais infinito ainda; é o nosso modo de ouvir, interpretar e sentir.
Love this. Masterfully-played. Subscribed!
There's great players and then there's masterful players.
Great work, congratulations Mr. Wilkus
Amazing! Simply perfect!
Amazing performance!
absolutely brilliant
Gorgeous!
Thực sự có ít Guitarist thực hiện được tốt hết 12 Etudes của V.Lobos!... Chúc mừng thành công! 👏
Amei, sensacional.
Magnific 👏👏
soooooooooo beautiful Bravo👍👍
Brawo, wspaniale!
BRAVO. BOMPLIMENTI
EXCELENTE EJECUCIÓN !!! FELICIDAD AL MAESTRO ANDRZEJ WILKUS! VILLA LOBOS MÚSICA PARA EL ALMA! GRACIAS
Estupendo!!!
BRAVO!
Amazing
Incroyable
Благородное исполнение
maybe one of the best interpretations of etude 7 in the net.
What a major accomplishment!
Excellent work!
I agree with the comment below. Villa-Lobos' 12 Etudes were never intended to be a speed contest. Unfortunately some classical guitarists believe the faster they play a piece (at the expense of phrasing), the better they are at the guitar. Wrong!
Congratulations to Andrzej Wilkus for his brilliant rendition of Villa-Lobos' 12 Etudes! I was delighted to hear him play my personal favourites - Etudes 1, 5, 7 and 11.
You sound great thank you
musicality, unfortunately, has been a casualty of the education/performance pipeline. A lot of people aren't interested in seeing music, they want to see an exciting performance. Which generally means faster and louder playing. It has happened across all classical music.
Que buena interpretación del estudio 10!!!!!! 👌👌👌
Great!
La mejor interpretacion del mundo
Wonderful....
I love the way he plays the N°5
Fantastique bravissimo
But, there is music, that is more important than speed
Fantastic!
This is nice! Thank you.
Good performance, finally a player who doesn't turn this into a speed contest. A point of critique though: why are the repetitions of the bars in studies no. 1 and 2 omitted? They are essential in these compositions IMHO. I read about some additions in study no.11 that Villa-Lobos later omitted, I have to say (FWIW of course) I like the 'regular' version better...
I think he followed the manuscript.
It’s the original manuscript version that he was playing, I believe etude no 1 sounds better without the repetitions. David Leisner does it that way as well. You can find a download of the manuscript online.
Quoted from Abel Carlevaro about Study No. 1, introduction to his book "The guitar works of Heitor Villa-Lobos-12 Studies (1929)":
"The composer himself insisted that the execution of this study should never be unruly, affirming that its beauty lies in the clarity of each note and in the different sonorities presented in each bar with its repetition. In his opinion each arpeggio should be played forte the first time through (becoming piano on the fourth beat of the bar) and with an echo effect on the arpeggio's repetition."
I agree. Villa has constructed these studies to allow the development of some technical issues... the repetition is "oberhaupt" important in this case.
Very good observation.
About the nº 11, well, prevails what Max Eschig has published... and also in this case I prefer the regular... with all respect with the player and, "obenand", the Composer...
By the way, the 11 is my favorite, just because Villa dedicated it (also) to the brazilian Indians, like the Prelude 4... both are very nice to hear and play.
@@gildasiooliveira7921
I must say but not for 'purist' reasons, that I prefer etude no 1 to listen to when done well in original form.
The alternative version (with repeats in nearly every bar) although sounding impressive when being played well with intensity, doesn't sound as musical as the original imo.
I especially like David Leisner's take on it and this one as well.
The repeats tend to strain on the left hands as well especially if you can't play it fast, for that reason I go the the original more for practice.
Have only really looked at etude 1 though in manuscript form, can't speak for the rest.
ufff que buena interpretacion, felicidades
Amazing. There are so many great guitarists we really need to hear them play often. The guitar sounds and looks so good. Who is the luthier?
woowww most musical ive ever heard these
i love how you can hear all the notes in the first one. i think it sounds so much better this way and find it a shame when it’s at a breakneck speed.
I absolutely agree -- the Eliot Fisk version here on TH-cam is WAY too fast! I've been working on No 1 for years and find it sounds much better at a slower pace.
Beleza cara!
Perfecto mukemmollo
I love No. 5
ハーモニクス綺麗すぎ
Грандіозна праця!браво!А для розумників в коментах-візьми інструмент,покажи що можеш ти!
Nyt on.
W O W
A giant guitarist.....!
Very enjoyable. No. 1 is very nice. What kind of guitar is that? Very nice.
Por que que a gente (Brasil) tem um compositor tão incrível assim e quem faz vídeo sobre ele é de fora do país? Que desperdício cultural, onde a gente se perdeu?
No one is a prophet in his own country
Existem vários violonistas brasileiros que gravaram os estudos do Vila... Fabio Zanon,Paulo Porto Alegre, Maria Lívia São Marcos e muitos outros..
geralmente instrumentos como violão,clarinete e viola não recebem tanta visibilidade na comunidade de musica clássica como os mais conhecidos como piano e violino,ainda mais no Brasil que musica clássica não é tão mainstream
Nos perdemos no momento que os politicos adotaram o critério de ter uma população idiota e vulnerável onde tudo se perdeu incluindo a cultura.
빌라 로보스의 Etude 12개는
J.S Bach의 무반주첼로 모음곡과 비견되는
masterpiece...
It's brilliant and equisite
performance
Villa lobos really appreciated Bach. It is also he composed the *bach*ianas(bachianas) brasileiras. You should hear that!
Thank you for precious opinion.
Have a nice day..
Fantastic performance, Andrzej, plenty of finesse and virtuosity. I hope it is not too intrusive to say the whole story of the publication of the Etudes is a bit more complex than just identifying an "original manuscript". The so-called 1928 Max Eschig manuscript has been circulating at least since 1997 and can be legally obtained from the Villa-Lobos Museum. The problem is that the "original" 1928 manuscript is not exactly what the composer decided to publish. We cannot assume that, when there are discrepancies between various sources, the publisher is always wrong. For more sensible information on this subject, please refer to the (not so) new Max Eschig critical edition, revised by Frédéric Zigante, who traces the whole process in his extensive annotations. Andrzej apparently is playing from the 1928 Max Eschig manuscript, which is a legitimate source for an interpretation and full of expression marks not present in the official 1953 edition. And it doesn't carry repetitions in the first two etudes.
Shouldn't the first one have each measure doubled, and like twice the speed? :o I first heard this piece in Martin Myslivecek's performance on some old vinyl, and it was a totally different, brave, harsh thing!
Sir, may we know what guitar you are playing for this recital. Thank You
St. Michael's Church, Turku? What country is this in, please? I don't know 'Turku'.
When your in your sixties, and you've been getting really good at something for 45 + years, this is what it looks like and sounds like....as for the music itself, it seems more like a mathematical exercise than an attempt to create beauty..... I could take it or leave it....
Well they are Etudes
i think the original manuscript doesn't sound natural. Villa-Lobos just wasn't bothered to put repeat dots after every each measure and told Eschig (Max) to publish them with repeat dots.. but ofc, who knows.
Koji Kondo was here
Anyone know who made his guitar?
I should have waited till the end ;(
As always, all I can say when I watch someone play Villa Lobos is, F**kin’ A.
W pierwszej etiudzie brak repetycji...ja,niestety wymiękłem już na nauce pierwszej...Eksta wykonanie dźwięku i technika bezbłędna. Pozdro.
No. 5 is taken at just the right read: leisurely tempo. Only one other player on record does not rush it: Charlie Byrd.
There are dozens of performers who take this at a leisurely tempo, starting with Narciso Yepes, who actually plays is almost twice slower. Escobar, Pedrassoli, Fernandez, Santos they all play it at a sensible tempo. It is andantino in 2/2, so one could not be blamed for playing it slightly faster. The point there is that it is reminiscent of some children folksongs, which are not too slow, not too fast.
@@fzanon The time signature in the 1953 Max Eschig edition is "2" -understood to mean 2 beats per measure, but with no indication of which note gets the beat. If the beat was a half-note, as in 2/2, then one could be justified in playing it at a fairly quick tempo. But without the clear indication of the half-note being the beat, it must *_not_* be played as if it were. Besides, the score is marked "Andantino" which is sometimes defined as slightly slower than andante, in which case its BPM is between 64-72.
If there are "dozens of performers who take this (Etude #5 )at a leisurely tempo," there are many more dozens who don't. The leisurely tempo takers are vastly outnumbered, and therein rests my complaint.
@@apointofinterest8574 @apointofinterest85 Thank you for your reply. Although I agree with you and have played it at a relaxed tempo, my point is that I am cautious at this kind of prescriptive reading of the score that leads one to affirm a piece must or should be played in such and such way. The reasons are many, but in short is that one must have a common ground between composer, performer and listener regarding notation and context that is not always easy to thread. That leads me to be less judgemental with discrepant interpretations. Andrzej is clearly not playing the 1953 edition, but fortunately there are no discrepancies between the different sources as to the time signature and the andantino tempo mark. Beyond that, what the composer means by andantino or any other tempo mark is always a bit elusive. What one can do is to investigate Villa-Lobos' theoretical ground, or his other works and see where we stand. If you look at another cycle from the 1920's, the Cirandas for piano, we'll see he indistinctly uses both 2/2 or 2 as time signature (for instance ciranda nº 6 is 2/2, but nº 15 is 2). At that time, Villa-Lobos would write many of his tempo markings in Portuguese, but Ciranda nº 2 is marked andantino quasi andante crotchet = 88 which is not so useful for us, as the time signature is 3/4. A piece like Brinquedo de Roda has andantino 2/4 quaver = 104. So, there is not much of a pattern except they are all leisurely pieces. But there is a cultural context one could take into account. Etude nº 5 has a lot to do with our Brazilian children round dances, like th-cam.com/video/vg-W9GBeJs0/w-d-xo.html. Of course folk traditions evolve over time, but one can have that on the back of one's mind and look at the etude as a kind of round dance seen through a ghost-like veil, where the ostinato suggests the dizziness of going round and round. I can accept it at a slower tempo or at a slightly brisker tempo, depending on how it is played. Best greetings!
@@fzanon Thanks for your thoughtful insights. I'm assuming you're the _echt_ Fabio Zanon, whose superb 1997 MusicMasters recording of Villa-Lobos' complete solo guitar music has long been part of my CD collection. Your timing for Etude #5 seems to be ~100-108 BPM (crotchet as the beat). which is closer to "leisurely" than most players. But all historical precedents and scholarly justifications aside, I have to say, for me this piece just sounds much better at ~80-90 BPM. Taken much faster than that, it tends to feel like the player is in a hurry to get to the end, and on to the next presumably _more important_ Etude.
@@apointofinterest8574 Yes, that's me. I agree with your insights and I don't like it when it sounds rushed. Curiously, at the time of release my recording of #5 was criticized for being too much on the slow side... One cannot please everyone. Thank you for the discussion.
No. 11 must be from Villa Lobos’ original manuscript. I didn’t know he had revised the work later.
Listen to nr 10.
Second etude was off pretty badly but it’s extremely difficult
Thank you for posting. Overall this was a very good performance, and only due to this high quality do I feel cheated by the botched middle section in 11 - the arpeggio sounds so disjointed and inconsistent. With all the other technical challenges of the suite being well managed, this is bizarre.
Incredibly crappy camera work for Etude 4. Who cares what the f- his left hand is dong? The camera should be exclusively focused on his right had from many different angles for the entire piece.
I still wonder why Villa-Lobos actually wrote down rhythms in those scores. Or tempo indications. Appearantly not for Andrzej ... and many others these days. That means not having respect for the composer and attracting all attention to the performers ego.