Introduction

Reappraisal of Etudes Simples

Brouwer's Critique of the 19th Century Models

Brouwer's Technical Development and Aguado's Legacy

Introduction of Aguado's Schooling to Cuba

A Unique Achievement Among Many

The Purpose of Etudes Simples

On the occasion of entering into yet another uncertain year of our new millennium, we look to the future, and among the delightful we also contemplate fears and difficulties. In the midst of rumours of war and carnage, as artists, we undoubtedly also confront the decline of profound artistic expression. This may or may not seem somewhat egotistical and discrete. But without the arts, man surely cannot exist. And neither can women. So, are artists facing a battle of their own, on their own? One much veiled and incomprehensible perhaps? One that cunningly attempts to govern and ultimately overcome our pleasing traditions? Have artists become dispassionate, or simply drained whilst raising their voices amidst the many other crusades waged upon their daily lives? If contemplating the future is complex, then maybe we should pause, and linger for just a while . . . and view what went before. No, we cannot dwell in the past, but perhaps we should return to some of our obscure treasures, to find desire, the valour to carry on. We do so to inspire ourselves, to arm ourselves with wisdom, for knowledge is and always will be, power. We owe this to our new and perplexed generation, our offspring and our learners. We resolve to share with them some of life's fortunes before these too become forgotten and possibly, demolished forever through hostilities that appear to get nearer and greater and more and more probable in every corner of our world.

As guitarists, and more so, classical guitarists, we especially feel vulnerable. We've felt this way for a long time, only now its getting worse, not so? So let's look at some past customs that can enthuse the new, the youthful, the often-infantile legion, sometimes our very own, to continue playing and practising that classical guitar, that thing we cannot help but love so much - and hopefully they will too. And with any luck who knows, may be one day . . .? But we are patient and dedicated and we ought to remain focussed.

I want to revisit some souvenirs that, with some blessing, will inspire our kids (and our terrible neighbours' terrible kids too) to carry on and not abandon the instrument. Above and beyond all this, let us not fail to remember simply to play to our children. But let us also play for them, and perhaps through this, we also live for them.

It is wise to start off by exploring some study material, designed especially for our young and inexperienced neophytes. It is equally good to select some fine studies crafted by the twentieth century's greatest living composer for the guitar. More so, by an artist who hails from an isolated and poor island nation situated on a remote periphery. "Why him in particular", you may ask, "For Sor and Aguado and Pujol and Carcassi and Carulli and Guiliani and many other geniuses from the past left behind splendid legacies for us all to profit from?". There are many established grounds for straying in this instance, from the traditional 19th century models. And this is what we will now address before we proceed.

REAPPRAISAL OF ETUDES SIMPLES[note 5]

I propose we choose Estudios Sencillos, the first ten only, as a start. Why did the Cuban, more than forty years ago compose these miniature art works? As far as we can construe, it was precisely to arouse the unconfirmed, the contemporary juvenile bunch to learn to love music and express it skilfully and musically, and through this, cultivate a love for the guitar itself. Leo Brouwer is only a start, and certainly a good start that is. But first of all, let us re-examine some further reasons why Etudes Simples I-X is such an excellent pick.

Brouwer's goals with his studies are in some degree similar to those of his predecessors. These artists' works contributed immeasurably to the guitar's evolution and significantly advanced guitarists' technical development. Still, operating in a new era, being fully aware of the unique limitations and requirements of our young players, Brouwer parted from the tradition of the celebrated guitar figures. In so doing he too became a pioneer.

In his departure from convention, Brouwer offers short, simple musical works in contrast to often-expressionless technical material from the nineteenth century. In reality Etudes Simples embodies musical miniatures, which are valuable and most appropriate for its projected group. The studies possess opulent textures that are skilfully incorporated into terse formal designs. The composer's seemingly unadorned harmonies in effect constitute a crafty fusion of conventional resonances with novel sonorities, designed for the unpolished ear. Strong rhythmic and syncopated patterns are employed alongside gorgeous Afro-Cuban-inspired themes. Etudes Simples consequently expose young players from the traditional art-music world, to style characteristics from an exotic culture. All in all, Brouwer employs an assortment of rhythms, metres, tempos, harmonies, dynamics and textures to develop the student's musical awareness. He thus offers suitable incentives to set free and enhance our young players' creative talents. ".[note 6]

Similar to Villa-Lobos, Brouwer did not write a method in itself, but a compilation of studies. In great contrast, Brouwer composed notably uncomplicated and more pragmatic apprentice pieces. ".[note 7] One of guitarists' principal remaining strengths today are some very exceptional works that have seen the light of day. But often these are projected to the concert recitalist. Youthful players at a basic fitness level will find Brouwer's studies superb to learn and begin to love contemporary idioms

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Brouwer's Critique of the 19th Century Models

We return briefly to the study material from the previous age and consider the views thereon of Brouwer himself: He says, "these are very difficult for children to play, despite the fact that they are musically simple [my emphasis] . . . . When we incorporate complexity and richness in a technically easy piece, children enjoy playing it more." ".[note 8] On another occasion he declares,"[its] musical languages little suite children."[note 9]

Brouwer further believes that Sor generally, did not isolate particular technical difficulties, that his studies in arpeggios present impossible left-hand positions for a child; some studies by Aguado too "contain insurmountable difficulties", he states. ".[note 10]

Before we develop an excessive protectiveness over the 19th century grand tradition, we must remain judicious, and consider Brouwer's comments in broader context. We must bear in mind that Brouwer critically evaluates the nineteenth-century material in terms of a large quantity, in reality not addressing the requirements and abilities of younger players. He does not dispute their significance for the more advanced player, or their precious standing in the history of the guitar as a whole. In this regard it is valuable briefly to revisit some historical-technical records and view Brouwer's place therein.

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Brouwer's Technical Development and Aguado's Legacy

In order to appreciate more fully Brouwer's views above, we must explore his own technical development on the guitar. Brouwer received his very first guitar schooling from his father. Brouwer Sr., an aficionado of Villa-Lobos, Tárrega and Granados, introduced the guitar to his son through his playing of these composers' works. This occurred when Leo felt great loneliness and sorrow after the death of his mother. His father inspired him to play by ear and the young Brouwer could count among his first performing works, Chôros and the Preludes of the Brazilian composer.[note 11] Such are the particular techniques employed in these works that some years later Brouwer could still perform these, perfectly as written, without ever having seen the music scores. Subsequently Leo Brouwer's compositional style has often been compared to that of Villa-Lobos. Their similar geographical settings and historical backgrounds, and hence, their great use of folk rhythms, further attach these two artists. In addition and of significance is their employment of a compelling idiomatic language in their works.[note 12] The musical qualities of their works nevertheless preserve their own uniqueness.

During his teenage years Brouwer also became strongly attracted to flamenco music, and he seriously contemplated pursuing this style in his guitar playing. However, after his remarkable learning episode brought about through his father's influence, the youthful Brouwer went on to receive his only formal guitar instruction, which was to be from the noted Cuban guitar master Isaac Nicola (1916-1998?).

Nicola was a student of Emilio Pujol (1886-1980), Francisco Tárrega's (1852-1909) heir and most celebrated pupil. It is relevant to note that Tárrega was associated with Julian Arcas (1832-82), who was in turn a pupil of Aguado (1784-1849). Besides being acquainted with Arcas who, could have introduced Aguado's Method to him (i.e. Tárrega), Pujol holds, "Aguado's Method became a guide to future guitarists and was, incidentally, an effective means of wider adoption . . . even in the exceptional case of Tárrega." ".[note 13] Among his charitable comments on Aguado's New Method, Brian Jeffery writes,

It was however Tárrega who promoted suave cantabile lines by cultivating the legato practice and exploring the instrument's rich sound qualities. The adopted posture in the twentieth century is also largely based on Tárrega's model.

The duty fell on Pujol to keep Aguado's flame burning and this he achieved from his intense knowledge of Tárrega's adopted methods and styles. Pujol passed these on to future generations through publishing, performing and teaching. Of significance is Pujol's method Theoretical Practical Method for the Guitar, which is expressly based on the principles of his teacher, Francisco Tárrega. In so doing Pujol documented and developed the trends of the Aguado-Tárrega technical schools and furnished the student of the guitar of his time with a more romantic music language. Pujol also inaugurated the rescue of the vihuela by having its antiquated works published. By doing so Pujol enhanced the guitar's repertoire outstandingly.

Brouwer came into contact with some of these particular works through the teachings of Nicola whose own training on the instrument was rooted in the above traditions. This, among other factors, prompted Brouwer to 'abandon' the flamenco guitarra and devote himself to the classical idiom instead. Some years later the mature Brouwer affirmed, "These revelations that Nicola gave me were my future. My dream!" [note 15]

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Introduction of Aguado's Schooling to Cuba[note 16]

Besides Nicola's spreading of Aguado's legacy in Cuba, José Prudencio Mungol counts as possibly the first guitarist to present Aguado's method to the country. The first existing records on guitar recitals in Cuba - conceivably the earliest in the Americas - relates to this Cuban musician. Born in Havana in 1837, Mungol became a student of Aguado during his stay in Barcelona. After his homecoming Mungol gave several concerts primarily in Havana, and became a composer and guitar instructor at Cuba's earliest music institution, The Hubert de Blanck Conservatory, founded in 1885. As a result of his dedication and direct affiliation with Aguado, records confirm that Mungol enjoyed fame and critical recognition as a performing guitarist.

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A Unique Achievement Among Many

Leo Brouwer forms an important cog in this lineage of guitar personalities: Aguado - Tárrega - Pujol - Nicola - Brouwer. Thus, by and large, the Cuban artist playing techniques trace back to the great methodology of Aguado. It was this process, among other factors, that led Leo Brouwer to reach such great heights during his performing career. One such unique accomplishment was when he performed at a concert that also featured the three supreme performers of the time: Towards the end of Brouwer's performing career in the 1980s, prior to him abandoning the concert stage due to inflamed right-hand finger tendons, he was a performer in a series of concerts in New York City, "The Great Virtuosos". Other performers in this historic series included the three Grand Masters, Segovia, Yepes and Lagoya! [note 17] In conclusion then, there is no reason why we need to feel troubled about Brouwer's critical judgements on Sor or Aguado & co.

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The Purpose of Etudes Simples

So what was the composer's objectives with Etudes Simples? Brouwer says his intention was to write "easy studies using a harmony and a rhythmic style that was relatively modern and above all of great economy of technical problems" [my emphasis]. [note 18] But Brouwer not only wished to depart from the tradition of earlier tutorial material, he likewise aspired to contribute to them. Over and above his critical evaluation of some of the nineteenth-century contributions, he considers in his works particular technical elements, deemed most significant already in the 19th century. Mandatory techniques from the Aguado-Tárrega-Pujol tradition have been particularly well preserved and presented pragmatically for the young student. These include the use of slurs, chords, arpeggios, the barré, movement of the right-hand thumb, and cultivation of finger independence, speed, and strength. Given the guitar's array of stringent technical demands, it is most gratifying to observe Brouwer's awareness of economic finger movements and a style of writing well suited for the instrument. Such an idiomatic compositional approach has its roots in Fernando Sor's highly rational system of writing. Villa Lobos' modern-styled designs initiated great expansion on Sor's approach. Brouwer's imaginative fusion of these aspects contributed to Etudes Simples being both accessible to and loved by young players from across the world. [note 19]

These studies furthermore serve as performance material for both the young and experienced guitarists. Novices especially, can additionally be taught and inspired to reflect the intentions of music, which is not achieved by sitting in a practice room all day playing finger patterns. [note 20]

American guitar-virtuoso David Tanenbaum, recorded all of Brouwer's studies, because

Etudes Simples calls for players to echo human experiences, to nurture their own musicianship, and to mirror the creator's goals. Leo Brouwer reminds tutors and students alike, that music is, after all, an art form, just like painting, literature, drama, dance, poetry, and others. [note 22]