Re: The Estudios Sencillos by Leo Brouwer: How simple are th
Postby Luis_Br »
I think the "simple" is in the sense of short and not complex music. They are not so difficult to simply play the notes, but I think they are quite difficult to play well, with a good interpretation.
My current teacher uses them as a second stage of development, when working deeper on the color and dynamics variation, and rhythm control.
A new student normally beigns with Carcassi Op60 or maybe some Sor studies, to review basic technique and sound production. It may take from 6 months to a year, or maybe more, according to player level. Then he goes to Brouwer studies.
Brouwer studies are normally easy to play without mistakes after that preparation, but my teacher is so perfeccionist on the interpretation at this time, that they become quite difficult. For example, Number 1 was very easy to me, and I could play it more or less well during first sight-reading. It was also easy to me to make the bass "sing" and play the accompaniment softer. But my asked me to make the accompaniment interesting while still keeping a singing bass. He asked me to do some sort of rhythm swing to detach it
Leo Brouwer’s Estudios Sencillos - The Perfect Beginner Etude Cycle?
Hello everybody! Today, I want to spark a discussion about the most influential etude cycle I’ve played and taught, the Estudios Sencillos by Leo Brouwer!
Have you ever played some of them? Click here for all our lessons on the Estudios!
While Leo encourages students (and teachers) to learn the first set of etudes as early as possible - Leo proposes the age of - I came across these studies much later in life. I have started to learn excerpts of the cycle when I was 15 and they jumpstarted my technical development, making me aware of the complexity of the movements of my hand!
While I was happily changing fingerings around to adjust the pieces towards my hand, my studies with Prof. Joaquin Clerch and discussions with several tonebase guests made me aware about the methodical approach approach of these studies and the fact that the fingerings are chosen very, VERY carefully!
What does “simple” mean? Musically, the pieces are actually quite advanced. They have complicated harmonies, rhythm, and broken lines. However, they are “sim
Leo Brouwer / レオ・ブローウェル () Classical Guitarist【 クラシックギター 演奏、作曲家】
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Leo Brouwer/ レオ・ブローウェル () 、キューバのギタリスト、作曲家。
年3月1日にキューバのハバナで生まれる。
彼の音楽は現代ギター音楽において欠かせないものとなっています。
幼少期の影響
幼い頃から父親の影響を受けてギターを始める。
彼の音楽的才能は幼少期から顕著で、13歳でクラシックギターを始め、17歳で初めて公の場で演奏。
当時は楽譜が手に入りにくかったため、彼は主に自分の耳を頼りにしてクラシックギターのレパートリーを増やしていきました。
祖母は著名な作曲家エルネスティーナ・レクオーナ・イ・カサド。
L. Brower 略歴
最初の教師はイサク・ニコラで、エミリオ・プホルの弟子であり、プホル自身はフランシスコ・タレガの弟子でした。
ブローウェルは年にアメリカに渡り、ハートフォード大学やジュリアード音楽学校で作曲を学ぶ。
ジュリアード音楽学校でステファン・ウォルペに師事。
キューバ映画芸術産業庁(ICAIC)の音楽局チーフに任命され、実験的な創作を積極的に行う。
彼の作曲キャリアは、キューバ音楽のリズムを取り入れた初期の作品から始まり、後にアレアトリック（偶然性を取り入れた）音楽に興味を持つ。
年代と70年代には、ルイージ・ノーノやイアニス・クセナキスなどの現代音楽の作曲家に影響を受け、作品に不確定性を取り入れる。
年代までギタリストとして活動していましたが、右手中指の腱を痛めたため、その後は指揮活動を中心に行っています。
ブローウェルは、ベルリン・フィルハーモニー管弦楽団、BBCコンサートオーケストラ、パリ・ヌーヴェル・フィルハーモニー管弦楽団、マドリード交響楽団など、世界のオーケストラの指揮をする。
年には「ハバナ国際ギターコンクール＆フェスティヴァル」を創設し、世界最高水準のギター・コンクールとして多くの世界的ギタリストを送り出す。
ブローウェルの音楽は、彼のキューバのルーツと、彼が経験した多様な音楽的影響を反映しています。
彼の作品は、クラシックギターのレパートリーに新たな次元をもたらし、今日でも世界中のギタリストによって演奏され続けています。
音楽の遺産
&nb
Leo Brouwer
Progressive Cuban composer and conductor Leo Brouwer was encouraged musically by his father, an amateur guitarist, and began playing the guitar when he was He then became a descendant in an important guitar lineage: Isaac Nicola, his first real instructor, had studied under Emilio Pujol, who himself had been a student of Francisco Tárrega. Brouwer gave his first performance at 17 and soon was composing music as well. His Prelude was written in followed by Fugue in He furthered his musical education in America, studying composition at the Juilliard School and at Hart College in Hartford.
He became director of the Music Department of the Cinema Institute of Cuba in as well as professor of composition in the Music Conservatory and musical advisor to the National Radio and Television Chair of Havana. He was also named director of the experimental department of the Cuban Institute of Cinema Arts and Industry, where he continued his own work as composer.
Brouwer was the first Cuban composer to use aleatory forms in his compositions. His varied output includes many works for guitar; percussion; prepared and non-prepared piano; a ballet; a chorus of 12 members, three chil
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