BARRIOS MANGORÉ, A.: Guitar Music, Vol. 5 (豆瓣)

表演者: Refik Kaya
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2019-03-01
出版者: Naxos
唱片数: 1
条形码: 0747313389872

豆瓣评分

暂无评分

想听在听听过

评价:

简介 · · · · · ·

　　Agustín Barrios (1885–1944)
　　Guitar Music • 5
　　
　　There is some obscurity over Agustin Barrios Mangore’s birthplace. Recent research has claimed he was born in Villa Florida, north of San Juan Bautista, in Southern Paraguay. He showed great musical ability early on, and first studied guitar with Gustavo Sosa Escalda. Aged 13 he attended the National College in A... (展开全部) 　　Agustín Barrios (1885–1944)
　　Guitar Music • 5
　　
　　There is some obscurity over Agustin Barrios Mangore’s birthplace. Recent research has claimed he was born in Villa Florida, north of San Juan Bautista, in Southern Paraguay. He showed great musical ability early on, and first studied guitar with Gustavo Sosa Escalda. Aged 13 he attended the National College in Asuncion, where he soon established a reputation as an outstanding guitarist. In 1909 Barrios made his first visit to Buenos Aires. After this he became a travelling artist, giving recitals in many countries including Argentina, Chile, Uruguay, Brazil, Venezuela, Costa Rica, El Salvador, Mexico and Cuba, among others.
　　In August 1930 in Bahia, Brazil, Barrios made his first public appearance as ‘Chief Nitsuga Mangore’, ‘the Paganini of the guitar from the jungles of Paraguay’. ‘Nitsuga’ was Agustin spelled backwards, and ‘Mangore’ the name of a legendary Guarani chief. Quite dramatically, Barrios dressed up in native costume, complete with headdress and feathers. This phase concluded around 1934 when the Paraguayan ambassador to Mexico advised Barrios that the Nitsuga presentation was ‘not dignified or appropriate’.
　　In 1934 Barrios travelled to Belgium, performing at the Royal Conservatoire, Brussels before moving on to France, Germany and Spain. He played in Madrid on 1 December 1935, staying in Spain for three months before returning to South America.
　　In 1939 he suffered a heart attack while in Mexico City. Barrios, having partially recovered, then went to El Salvador where, with the help of the country’s president, he was appointed as professor at a music school. He died in San Salvador on 7 August 1944.
　　Barrios’ significance in guitar history, apart from his frenetic life of recitals and travels, is his legacy of recordings and compositions. He was also the first guitarist to realise the possibilities of the new art of recording, and recorded more than 50 tracks for the Atlanta and Odeon labels between 1910 and 1942. These enabled later generations to notate his compositions, especially when definitive manuscripts were not extant.
　　Vals, Op. 8, No. 3 (‘Waltz’), composed around 1919 while Barrios was in Brazil, is one of his few works to be given an opus number. This was said to be on the advice of Barrios’ friend, Martin Bor y Pergola, who wished to dignify the compositions in this way. Only two other pieces, Vals, Op. 8, No. 4, and Preludio, Op. 5, No. 1, were provided with opus numberings. Clearly inspired by the aura of Chopin’s waltzes, Barrios creates his own unique atmosphere of enchantment and romance.
　　Pericón, the title referring to a folk dance from the River Plate area, was recorded by Barrios in 1928. The pericón became the national dance of Uruguay following the publication in 1887 of a version entitled Pericón Nacional by Gerardo Grasso (1860–1937). This was a group circle dance of the Uruguayan and Argentinian pampas originating in the late 18th century. Barrios’ version of the dance is one of his comparatively neglected pieces, though guitarist Rico Stover regards it as one of the composer’s ‘greatest works’. It is virtuosic from beginning to end, and a composition of great momentum and dynamic energy.
　　Julia Florida, dedicated to Barrios’ pupil Julia Martinez de Rodriguez, was written in Costa Rica in 1938. This romantic piece, in the style of the barcarolle, perhaps owes some of its inspiration to Mendelssohn’s Venetian Gondola Song (Songs without Words, Op. 19, No. 6), which was transcribed for guitar by Francisco Tarrega.
　　Danza paraguaya No. 1 (‘Paraguayan Dance’), described by Rico Stover as ‘perhaps Barrios’s most popular work’, was composed around 1926, and over the course of the years the composer wrote down at least five versions as well as an arrangement for two guitars. The form of Danza paraguaya No. 1 is known in its native country as polca paraguaya (‘Paraguayan Polka’).
　　Estudio in G minor, dedicated to Don Martin Borda y Pagola and composed in 1920, has a Bach-like quality. The key is unusual for the guitar, and offers some fresh and illuminating moments of colour and tonality.
　　Estudio No. 3, in the more customary key of E minor, reveals the composer’s mastery of the concert étude genre following the precedent of early 19th-century masters such as Fernando Sor (1778–1839) and Mauro Giuliani (1781–1829).
　　Choro da saudade is acknowledged as one of Barrios’ finest compositions. The piece is written in the Brazilian choro form, a type of music originally denoting urban ensemble music comprising wind instruments and guitars. The word saudade is one of those untranslatable Portuguese words referring to ‘a feeling of longing, melancholy, or nostalgia, supposedly characteristic of the Portuguese or Brazilian temperament.’ A smooth performance demands that the guitarist has hands capable of playing the extended positions of the left hand bass line without undue effort. The composer’s ability to write in many different South American musical genres is apparent here in his vibrant re-creation of a Brazilian style.
　　Preludio in E minor ‘Pequeño preludio’ (‘Little Prelude’) is a brilliant study with resemblances to the composer’s Las abejas (‘The Bees’). Within a few bars Barrios has packed a variety of technical exercises for both right and left hands that demand considerable dexterity.
　　Invocación a la luna (‘Invocation to the Moon’) was performed by Barrios in concert in 1932 under the title of Fiesta de la luna (‘Fiesta of the Moon’), described by Rico Stover as another ‘Guarani inspired’ work from ‘indigenous themes’. Barrios recorded the work in 1943.
　　Petit Pierrot, Marcha (‘Little Pierrot, March’) recorded by the composer in 1913, presents a good-humoured theme reminiscent of a circus orchestra accompanying various acts. As a guitar piece it is sophisticated, one episode presenting the theme quasi-orchestrally on the middle and lower strings with a treble flourish reminiscent of woodwind.
　　Estudio No. 2, also known as Estudio en arpegio (‘Study in Arpeggios’) was written in 1941, and is one of Barrios’ most appealing studies, its gentle tune and harmonic progressions being reminiscent of the studies of the early 19th-century masters such as Fernando Sor (1778–1839) and Dionisio Aguado y Garcia (1784–1849), but with an expressive quality that represents Barrios’ late Romanticism.
　　Gavota al estilo antiguo (‘Gavotte in the Old Style’), composed on 29 August 1941, is Barrios’ tribute both to the Baroque and to Tarrega’s transcriptions of similar works. But the melodic line and sweetness of the harmonies bring to the music an essentially personal voice, characteristically the composer’s own.
　　Preludio in G minor, Op. 5, No. 1 was composed in Uruguay in 1921 and published in Buenos Aires in 1929. This Preludio was one of the first of Barrios’ pieces to be recorded by a later generation of concert recitalists, and appeared on Laurindo Almeida’s album Guitar Music of Latin America, issued in 1955 on Capitol Records (P8321). The work was described on the sleeve note as ‘a classical work without folk or popular elements, its principal characteristic is that it treats the guitar as a single-voiced instrument. No two strings are plucked simultaneously until the final cadence. All the harmony is unfolded horizontally—that is, it is inferred from the succession of melodic events, some of which are of course only figurations of broken chords.’
　　Romanza No. 1 ‘Romanza en imitación al violoncello’ (‘Romance in Imitation of the Cello’) was written in Brazil in 1918 and recorded by the composer on 10 May 1928. Its use of melody in the bass against a two-note accompaniment is most expressive, its historical antecedent being Study, Op. 6, No. 1 by Fernando Sor in the early 19th century. This Romanza has also been given the titles Página d’album (‘Album Page’) and Fuegos fátuos (‘Wild Fires’) in other contexts.
　　Zapateado caribe (‘Caribbean Zapateado’), arranged here for solo guitar, was composed in 1931 and had its first performance in Trinidad. Later, Barrios arranged it for guitar duo and performed it in a concert with Raul Borges in April 1932, in Caracas, Venezuela. While in El Salvador, a further arrangement was made for three guitars, and this is the only extant version of the piece. Zapateado, literally meaning ‘tapped with the shoe’ refers to the flamenco dance, a virtuosic solo for a male dancer. The genre is akin to the tanguillo rhythm, and alternates between 2/4 and 6/8 time signatures.
　　Abrí la puerta mi china (‘Open the Door, My Country Girl’), contained in a manuscript of 1905, is the earliest composition by the composer found so far. The piece recreates aspects of the tango, and with its delicate glissandi and harmonisation demonstrates distinct influences from Tarrega in its texture and mood.
　　Estudio del ligado in D minor (‘Slur Study’) is a delightful exercise, Bach-like in its restraint, helping the student to develop the tricky art of slurred notes on a fretted instrument. It was written in 1941 during Barrios’ prolonged stay in San Salvador where he was an esteemed teacher as well as recitalist.
　　Variación al estudio No. 3, also from the El Salvador phase of Barrios’ travels, is a pleasing addition to the more complex Estudio No. 3 featured earlier in the selection.
　　Estilo y pericón is an another ideal representation of Barrios’ ability to re-create the indigenous essence of varied South American musical cultural idioms. Estilo is an Argentine song type related to the triste or tonada, usually provided with a passionate song text. The pericón is an Argentinian national dance which involves the waving of handkerchiefs.
　　Estudio del ligado in A major is a brilliant exercise in the difficult art of slurs, which on the guitar involves the process of the left hand fingers ‘hammering on’ or ‘pulling off’, necessitating an individual and equal strength between all combinations of fingers.
　　Isabel, Gavota is a tribute to Barrios’ lover around 1908, Isabel Villalba, with whom the composer had two sons. The relationship, in one form or another, seems to have survived until the early 1920s, but was complicated by his lengthy absences from her.
　　Variación al estudio No. 6 presents a lively afterthought to Estudio No. 6 (available on Guitar Music, Volume 4 Naxos 8.573897), an arpeggiated study with wide sweeps across the fingerboard in both directions.
　　Vals de primavera (‘Springtime Waltz’), written around 1921 and performed in recitals by Barrios during the early 1920s, is a joyful evocation of spring. After the opening melody in the treble, contrasting sections use the bass strings for the melody before ascending higher. This piece also brings in some interesting modulations from A major to F and C before the recapitulation.
　　Diana Guaraní is an extended work, rescued, in the absence of a manuscript, by Rico Stover from a number of non-commercial out-takes recorded in El Salvador in 1943. The composition’s episodes include various effects such as snare drum imitations, tambora (drum sounds), rapid scale runs, arpeggiated passages, ornamentation, and other virtuosic devices.
　　La paloma, Habanera (‘The Dove’), written by Sebastian de Iradier (1809–1865) in the 1850s, presents one of the world’s most popular tunes. Its habanera rhythm was originally a Cuban genre brought back to Spain by sailors and blended with the flamenco tanguillo style. It had previously been arranged for guitar by Francisco Tarrega.
　　Graham Wade

曲目 · · · · · ·

Barrios Mangoré, Agustín
Show Details Vals, Op. 8, No. 3
Play with flash player Vals, Op. 8, No. 3 00:04:05
Show Details Pericón
Play with flash player Pericón 00:05:07
Show Details Julia Florida
Play with flash player Julia Florida 00:04:30
Show Details Danza paraguaya No. 1
Play with flash player Danza paraguaya No. 1 00:02:03
Show Details Estudio in G Minor
Play with flash player Estudio in G Minor 00:02:24
Show Details Estudio No. 3
Play with flash player Estudio No. 3 00:02:04
Show Details Choro da saudade
Play with flash player Choro da saudade 00:06:00
Show Details Preludio in E Minor, "Pequeño preludio"
Play with flash player Preludio in E Minor, "Pequeño preludio" 00:00:27
Show Details Invocación a la luna
Play with flash player Invocación a la luna 00:04:04
Barrios Mangoré, Agustín
Morris, Tony, arranger(s)
Show Details Petit Pierrot, Marcha (arr. T. Morris for guitar)
Play with flash player Petit Pierrot, Marcha (arr. T. Morris for guitar) 00:03:18
Barrios Mangoré, Agustín
Show Details Estudio No. 2, "Estudio en arpegio"
Play with flash player Estudio No. 2, "Estudio en arpegio" 00:02:14
Show Details Gavota al estilo antiguo
Play with flash player Gavota al estilo antiguo 00:02:04
Show Details Preludio in G Minor, Op. 5, No. 1
Play with flash player Preludio in G Minor, Op. 5, No. 1 00:05:23
Show Details Romanza No. 1, "Romanza en imitación al violoncello"
Play with flash player Romanza No. 1, "Romanza en imitación al violoncello" 00:03:07
Show Details Zapateado caribe (version for guitar)
Play with flash player Zapateado caribe (version for guitar) 00:02:56
Show Details Abrí la puerta mi china
Play with flash player Abrí la puerta mi china 00:04:17
Show Details Estudio del ligado in D Minor
Play with flash player Estudio del ligado in D Minor 00:01:40
Show Details Variación al estudio No. 3
Play with flash player Variación al estudio No. 3 00:02:29
Show Details Estilo y pericón
Play with flash player Estilo y pericón 00:02:51
Show Details Estudio del ligado in A Major
Play with flash player Estudio del ligado in A Major 00:00:56
Barrios Mangoré, Agustín
Morris, Tony, arranger(s)
Show Details Isabel, Gavota (arr. T. Morris for guitar)
Play with flash player Isabel, Gavota (arr. T. Morris for guitar) 00:02:39
Barrios Mangoré, Agustín
Show Details Variación al estudio No. 6
Play with flash player Variación al estudio No. 6 00:01:02
Show Details Vals de primavera
Play with flash player Vals de primavera 00:05:07
Show Details Diana Guaraní
Play with flash player Diana Guaraní 00:08:47
Iradier, Sebastian de
Barrios Mangoré, Agustín, arranger(s)
Show Details La Paloma, Habanera (arr. A. Barrios Mangoré for guitar)
Play with flash player La Paloma, Habanera (arr. A. Barrios Mangoré for guitar) 00:03:36
Total Playing Time: 01:23:10