this 18th century farmhouse set in Rolla Wiltshire home of the guitarist Julian bream is a setting for this series of television master classes the house and garden attended with the same care and enthusiasm Green brings to his play and is more than a host but it's table now serves as a workshop for a guitar maker and about the workshop small room is used as much for table tennis as for informal recitals here a number of young guitarists gathered to watch Julian brain work with advanced students and young professionals from this country and abroad on some of the best loved pieces in the guitar repertory in this second program the composer is a Brazilian atoll Villalobos one of the most prolific musicians of our time and creator of about 2,000 works by the time of his death in 1959 his preludes for guitar written in 1940 were inspired by Segovia the three guitarists taking part are Darko Petra Nyuck Forbes Henderson and Robert Brightman dark oak patron yak comes from Yugoslavia besides the guitar he also studied the double bass an instrument he played as a member of the Zagreb Philharmonic Orchestra as a guitarist he's given recitals and made records in his native Yugoslavia and currently he's studying guitar and loot at the Royal Academy of Music in London Forbes Henderson was born in Sheffield in Yorkshire he also studied the guitar through our Academy of Music and later at the Royal Northern College of Music and in 1972 won first prize of the Lanchester international guitar competition he made his Wigmore Hall debut in 1976 and last year played at the Harrogate Festival Robert bright Moore comes from London and taught himself to play the guitar having first had piano lessons as a child he's played at the Wigmore Hall each year since his debut there in 1975 has also given recitals in the Purcell room and abroad now of all the composer's in this century that were written for the guitar none have really made the guitar sound more resonant and in a sense more beautiful than Villalobos he was of course guitarist himself and he knew the intimacies of the fingerboard and the actual right hand technique quiet wonderfully well and so for this program we're going to study three of his very popular preludes all right darker shall we start with number one yes that was an effective performance it had color and an intensity but I think you must take very much more care of the sound production and great care of the accompaniment one tends to think of a romantic piece like this as having all melody and just a little Cham Cham Chama compliment but the little a compliment which is very simple harmonically actually holds the piece together and it makes the piece throb this little now I think the actual rhythm of their compliment is very important and it must be meticulously played also the feeling of shape is very important in these very big large and expansive melodies and in a sense the opening or the first section is in three broad sweeps the first one the second one which is longer and the third one which is really longer still and we must get the feeling of a sweep rising and then declining we didn't in your performance I said I also feel that even when it's loud you mustn't sort of break the guitar it was just a bit overplayed get what I mean you can hear leave the accompaniment is very important it must pulsate and in fact it holds the whole music together I mean the tune itself could be played straight it doesn't have the intensity without and very much together not to arpeggiated also when you have the chords with the tune we didn't hear the bass very strong should be you won't were there the melody should be fun your time that should be very delicate little leading it's very important because it's going to take right now the other problem with this performance was that somehow the middle section did not relate to the first section at all it the beginning of the second section although the character of the music changes it must grow out of the first music you see and the rhythm that's a very big moment Digga Digga can you crescendo look can you make that up the whole important thing about in our page o is that it's not wrong but it has an inner rhythm yeah it relates to the music before T good now don't waste too long no it's not like that but there's got to have a real quality is too quick listen to me listen it up given those harmonics a going around with the harmonics keep your finger on the string a little longer you'll go like that okay write that but take it gently you get us worried when you do that try slide listens good all of us wrote this it is rather coarse music this and the Brazilian character not that all Brazilians of course naturally but you know there were less one was create a certain earthy quality with that slide then we could make the slide with nickels okay good you know I like the spirit of what you do but you've got to rhythmically think about the work much more and you've got to give these phrases very much more shape than you have hitherto thank you very much that was the first Prelude that Darko played and now we've got the last Prelude the fifth Prelude which is in fact somebody told me there was six preludes to this set do you ever hear that yes one got lost very sad I'm sure it would have been a rather brilliant one to endure the whole set because by and large the music of these on the character of these pieces are a pretty sultry and one leader a rather lively piece to hang with nevertheless this is a very beautiful Prelude and very difficult to play because of the great deal of legato playing that's required to keep the melody singing and the cord underneath are supporting the melody in a smooth way yes well that wasn't quite as good as you probably can play it I can see you're very tense and you know this shoulder nor fleece on a lot team and you ever thought about that and you have a very high foot stall and then even when you're playing you're actually have got draw and foot raised on the high foot stall I think the whole instruments too high and this shoulder is too far over and it's very very tense and I think if you could relax a little more you know the instrument and you would breathe and the music would be more forthcoming I think it's a little quick and and a little bit unbeautiful where you played it he was a little smoother giving well I take it that temper because the second bit says men oh yeah that's difficult to do it it's too slow yes but on the other hand it's not quite so much a question of tempo as a question of character a certain caressing quality wrote done with love try to fit more than love yeah all right now I'm just going to interrupt just ah don't go sorrow you see it's this can you see that he's really straining over there you know you could just pull that back a bit get your head up get your foot on the footstool and relax terrific but all these things so there should be much with that phrase you must lose all sense of time by the way then into town from not bad but that's a beautiful phrase it did sound like 4a to me listen the place not too much a comfortable here yeah well look you got to phrase the same you've got to do something too right let's go for the beginning of that section now now we're going to Magus - coming up Oh a great crescendo let's start quietly so we've got enough sound in the box to bring off the crescendo yeah that was play carelessly look you said this very important is a bit like dark honies those little calls coming down which he neglected to take care with same here it must be very dear da-da-da-da-da take the curl it's very important here we go let's go from this bed I tell you something which I liked very much was a little rallentando you did there but you've got to make up the time here as the piece Falls of pieces Parliament passes yeah the piece Falls to pieces I'm good at puns today isn't okay have you ever danced the moves hope you look good yeah I won't say any more now look the whole thing is that we've got three phrases the same we must do something with that fantastic right let's go from here and also make this look I tell you something what saw our music it's the shape time did I should be that horrible sort of mr. Helme right here we go you know look same phrasing so okay let's go from here once more into Tim your sleeve now now that's horrible listen to do that try going from there you're ending a letter yours truly here we go they must send a Sami you know it's a little ironic so family that was it now listen to me just arabesques animation here we go you've already married you go yeah I didn't like any of them you got beautiful I shouldn't say it myself and I look so try and don't rush these phrases you see take your time just are the phrases slowly start slow so you've only got three beats to get off six beats to get that in you don't muck about with the tempo but you take time for the first few notes and you make up the rest of the time a bit quicker for the net you see so you're all in time so let's do that phrase again little slower at the beginning that's that's coming well take your time this is the climax of the whole thing I reckon the wrong note I think it's must me as it and very summer through sec time buddy but you couldn't help that but that was beautifully played just before they carry on from there well it's very good and there's a lot but you better think about thank you very much you're much too cute Pro number three you because it's just a repeat isn't it that last section just repeats then comes to an end I thought some of the playing was pretty nice but there was no atmosphere about the piece you know it's a it's a very moody piece this very sultry where he that he's very sad and also very declamatory and I just got the feeling that you you didn't hold our interest as you should have done for example even that first phrase you have a crescendos right and these these phrases are very very important because they're like little arabesques that that join these very passionate calls you say now this is really should be quite passionate this is a really big outburst keep the intensity up this Mary Patrick you see it's going to be really intensive very very dramatic and the way you played it quite nicely a very smooth sort of suburban way you know but this is it's going to be passionate you know and you've got to do what the composer told you to do when he writes a crescendo you know he meant it and the odd thing I found I mean nicely played as it was the musical content of that lovely last section seemed to be lost because there was no real shave about it it's very very language you know and it mustn't go too slowly a little bit at the beginning of each phrase then gradually build up and then a lovely slide most people would consider that vulgar but I think it's so beautiful like a tear falling right we better not cry okay let's start that part of the game well let's go from the beginning though and go go ask for Shenmue going through that phrase it takes time to write valentown though he put it there on purpose it wasn't just that you know what wife wasn't bringing just bringing the coffee's when you do that point Ralph I tried out see what it sounds like give it give it a twirl no no without any rafts if you could do a little side wave a little something like that just give it a little vibrancy that's better don't go to sleep keep the intensity up keep the quality of the sound good yeah ChaCha this is really moving you tie put a time you're going to keep that look listen just the sound mr. Hiller I gives it gives bloom to the quality of the sound you see you've got to keep it up right let's go from here why do you play very very just let the fingers oh just let the fingers touch the string just look relaxed just think I know it's hard to be relaxed in a situation like this but look just let the fingers do if you can just nobody that says it's coming on very good here we have to pass be I should go right try it again yeah they could be more soulful you I play this for you