〖Abel Carlevaro -- Guitar Masterclass -- Vol. 3 -- Technique, Analysis and Interpretation of 12 Studies by Heitor Villa Lobos （维拉罗伯斯的12首高级练习曲技巧与演奏分析）〗

Author's Preface
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　　Villa-Lobos was an innovator, a composer who rejected stereotyped formulas. He chose to create his own language, to compose music with his own personal trademark. Initially, he was severely condemned by critics, but in spite of this his aesthetic conviction gave him the strength to progress according to his own rules........
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〖Abel Carlevaro -- Guitar Masterclass -- Vol. 3 -- Technique, Analysis and Interpretation of 12 Studies by Heitor Villa Lobos （维拉罗伯斯的12首高级练习曲技巧与演奏分析）〗
FOREWORD（前言简介）
　　The Studies of Heitor Villa-Lobos do not belong to the past. On the contrary, they possess a force, an eternal presence that is full of life and vigour. It is important to observe the intimate connection that exists between the abstract values of music and the guitar's natural virtues because the music of Villa-Lobos is born of this marriage. And that is how it should be understood - as "guitar music" created by a composer who constantly sought for perfect symbiosis. This expressive force is also linked to Villa-Lobos' experience with the popular music of Brazil.
　　These studies are not passive in nature. They are characteristically expressive, presenting us with a vivid appraisal of the guitar's possibilities. This music brings the guitar to life and propels it towards its artistic destiny.
　　Villa-Lobos was an innovator, a composer who rejected stereotyped formulas. He chose to create his own language, to compose music with his own personal trademark. Initially, he was severely condemned by critics, but in spite of this his aesthetic conviction gave him the strength to progress according to his own rules.
　　Should we search for the "beginning" of modern guitar music, we would find that it was Manuel de Falla's Homenaje a Debussy that set the instrument on a new course. It is unfortunate however that although de Falla initiated a new development for the guitar he did not pursue it any further. To put this discussion in historical perspective I am reminded of the reaction the music of Wagner provoked amongst many of the great musicians of his time. Adolfo Salazar, the famous musicologist, points out how many were unable to understand or accept Wagner's new ideas. He sees the origin of this resistance in the famous manifesto signed in 1860 by Johannes Brahms, Joseph Joachim, and others - a protest against Wagner and Wagnerian tendencies. This was a document of great importance, denouncing and attacking the appearance of new musical elements.
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