The self published Modinha CD by the Chilean virtuoso José Antonio Escobar is not only a great addition to any self-respecting guitar player, but a joy to listen to for anyone who enjoys the romantic music of the 20th century.

Escobar revisits the standard fare of the 5 Préludes and the 12 Studies using the long lost 1928/29 Villa-Lobos manuscript as the main source. The commercially available 1953 edition of the monumental and well-loved 12 Studies are rife with errors and inconsistencies which the publisher has never bothered to correct over the years.  Typical to Villa-Lobos, the 1928/29 manuscript used here is a piece of art in itself, and a model of precision and accuracy (you can order that from the Museu Villa-Lobos in Rio de Janeiro).  In addition, for reasons unknown, several of the studies, No 5 and No 9 in particular, were severely amputated in the published version of 1953.  In going back to the original sources, Escobar restores the original intentions to their fullest expressiveness.  Though several recordings based on the original 1928/29 manuscript are now available, Escobar's reading of this text is a must-have. 

Escobar is an intelligent musician, not a vain virtuoso trying to shine with sheer speed and loudness.  The 5 Préludes and 12 Studies contain very many challenges and difficulties which can be read in a boring, bravura sort of way.  Escobar avoids all the traps, and equally avoids syrupy interpretation of the more romantic segments, in the slow part of Prélude 3 for instance.  His choices of tempi help the music rather than demonstrating that indeed, he can play fast, as is required by the text in several places.  To my own personal taste, he might err slightly on the fast side in a few places, in Study 2, 4, and 5, in particular.  But Escobar does avoids cliché phrasing with over exaggerated ritenutos and such devices which can drive a music lover to drink in sorrow.

The beautiful music of Villa-Lobos shines all the way through this album, transcending the technical difficulties.  Escobar navigates brilliantly between the pensive self-absorption, frightening flights of fury and passion, complicated rhythms, and lyrical moments.

Escobar's technique is remarkable in clarity and precision and his sound is rich without being too soft, and never harsh.  His guitar does have unfortunate intonation problems which can be heard in a few places though (Study 4 in particular), regrettably.  He produces little distracting string noises but, alas, slightly more than has become customary in modern classical guitar technique.  Of course, this is nearly unavoidable in in Study 6 and 12, for instance. 

There are other very beautiful recordings of this work.  I would not part with my copies of similar programme by Alvaro Pierri, Johannes Tonio Kreucsch, or Joaquim Freire to name just a few, but Escobar's version is definitely among the very best in the modern generation of guitar players.  In most places, surpasses the historic versions recorded by the likes of Andrès Ségovia, Julian Bream, and John Williams, if only for the freshness of the intention and the brilliant execution through which the text shines.  

The title piece "Modinha" was new to me and it seems that it was never published and thus, only available in the newly recovered manuscripts used in this recording.  This is not a masterpiece like the Préludes or the Studies but certainly a nice addition to the romantic repertoire of the guitar. 

By several copies, keep one, give the others to your friends as presents. Listen to this frequently and, if a guitarist, study carefully.
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