A música de um mestre interpretada por outro mestre fiquei arrasado quando descobrir do falecimento é uma grande perda para o mundo musical e que infelizmente não teve grande repercussão
Também estranhei a pouca repercussão mundial de seu falecimento. Mr. Bream era um campeão da música de Villa-Lobos. Há um relato de Arminda de que ele chorou quando conheceu o Villa pessoalmente na década de 50.
Falando somente dos meios jornalísticos, teve reportagem no New York Times, The Guardian, Washington Post, BBC, Telegraph, etc.; no Brasil deu no Estadao, no Terra, na Cultura, Revista Concerto, etc.
@@ricardomarcal sim houveram essas revistas e jornais que ressaltaram esse acontecimento porém nas redes televisivas no Brasil principalmente não houveram notícias
i think the rubato takes away from the exciting rush the music gives. it's like he's hesitant of letting the passionate, fiery, and intense spirit of the music take over. a lot of musical performers seem to have an issue about making the performance about their technical abilities than actually delivering, to the best of their ability, a piece of music, a moment that captivates you, to get absorbed within the act of listening just as much as the performer is performing. i guess one could also be captivated by technical virtuosity, and that is another way to enjoy the many dimensions of music, but it feels like more of a shallow pursuit, rather than chasing the pure beauty within music itself. to each their own.
Completely stiff. Clearly he is someone who has never heard real Choro (or Jazz or any music which has some connection to African Classical music). Rhythmic feeling is not a completely subjective matter. It is as objective of a thing as being in tune harmonically. Bream is rhythmically out of tune. Specifically on the phrases that have the famous Brazillian rhythmic cell: ah ||: 1 e . ah 2 e . ah :|| 1. This phrase should imply a triplet feeling. The Brazillian equivalent of the shuffle feeling in Jazz/Blues.
Bream DID played JAZZ, mostly Django Reinhardt style, since his youth, with plectrum guitar in dance or jazz bands, and, of course, fingerstyle. You can see some of that in the Tony Palmer over two hours documentary on Julian Bream. And Bream met Villa lobos in London, Who explained to him many things about his music. Villa lobos also stated that Bream was one of his favourites, and use Bream recordings of his Preludes in a lecture given by him, in Río de Janeiro, (Statement by Herminio Bélo do Carvalho, a Villa lobos scholar, in his book "O Canto do Pajé).
@@CatalogueVillalobos I saw some interview in which Bream said that Villa-Lobos took the guitar out of his hand and said "no you can't play it like that, play it like this." And Bream was surprised to see that a composer could play so well... anyway here are two examples of people who can play it very well: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VMaVHdYpiOs.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vupHHx7aFkU.html
Of course, Bream absorbed that advice! Also, Villalobos said to Arthur Rubinstein, "You are just a virtuoso, You can not understand my music"!! BUT, they becamed later the closest friends, also Rubinstein continue to play Villa lobos music for the most part of his life!
@@CatalogueVillalobos fair enough. I guess the thing is just that Villa-lobos composed western classical music and put the name "Choro" as a title to a piece. It doesn't mean that it is actually music in the style of Brazilian choro. Similar to how Ravel has a piece called "Bolero" and it has nothing to do with the Cuban style of music call Bolero. I'm just always surprised how classically trained musicians can be so talented, yet so lacking in groove (a.k.a. MicroRhythm). See this clip for more explanation: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jPcXABJVjI8.html
