〖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）－续
　　Everyone is aware of the monumental musical contribution of Brahms and of the important work of Joachim. Yet it is interesting to see how musicians of high artistic calibre can sometimes err, and then later see things in another light. Can we find a similar reaction against new ideas as a starting point for the modern guitar? In a publication of the Villa-Lobos Museum (Rio de Janeiro) Philipe Marietti, one of the directors of Editions Max Eschig, describes a constant argument that always ensued between Segovia and Villa-Lobos: "Heitor, this cannot be done on the guitar". To which Villa-Lobos would reply: "Yes, it can, Andres". And when their discussion came to a head, Villa-Lobos would end the argument by playing the passage in question. This anecdote suggests that Villa-Lobos was creating innovations with some of his guitar works that in time set the instrument on a new course.
　　A musical language that breaks with traditional ideas must inevitably confront disapproval a priori, due no doubt to unfamiliarity with new sounds and prejudice stemming from earlier concepts. Yet rather than see this as some sort of contradictory force let us consider it as a creative process, within which a positive change is instituted. As far as the guitar is concerned this adventure continues today, constituting a truly interesting and fruitful period for the repertoire.
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