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AGUSTÍN PÍO (MANGORÉ) BARRIOS


  AGUSTÍN PÍO BARRIOS - MUSIC FOR GUITAR 1913 - 1942 - CD Nº 1


AGUSTÍN PÍO BARRIOS - MUSIC FOR GUITAR 1913 - 1942 - CD Nº 1

 

CHANTERELLE HISTORICAL RECORDINGS

THE LEGACY OF AGUSTÍN BARRIOS

Historical evidence suggests that AGUSTÍN BARRIOS MANGÓRE was the first guitarist (1910-13) to take advantage of the then relatively new invention the ¨ Gramophone¨. No sophisticated playback equipment existed at the time and musicians were expected, due to expense, to commit to disc a spontaneous interpretation.  Very few were able to do this and the result of Barrios ability to record, in what was almost certainly a ¨one take¨ situation has left classical guitarist and admires of guitar music a legacy from one of the greatest guitarist composers.

Barrios was born on May 5th, 1885 in Paraguay into a very musical family was christened Agustin Pio Barrios. From a very early age he showed an interest in the guitar and at 13 was recognised as having exceptional talent and awarded a scholarship to the Colegio Nacional in Asunción. After graduating he began to compose and give concerts. By 1908 he was well known throughout Paraguay and I 1910 left his a native land to embark on a concert career.

He had already begun to record. Six recordings are known to exist, two on the Artigas label and four on the Atlanta label: one can only assume that he had made journeys out of Paraguay before 1910 to make these.

The next important period of his career was spent in Montevideo where he settled for the next four years. Important, because it was during this period that a significant number of recordings were released including his own compositions, A MI MADRE, a beautiful sonatina composed in a improvisational manner: PEPITA, a Straus styled waltz: ARMONÍAS DE AMÉRICA, a fine Pot Pourri illustrating various dance rhythms of Latin America: two vibrant Tangos, DON PEREZ FREIRE and TANGO No. 2, and SARITA, a lilting Mazurka. He also recorded a number of pieces by other composers.

By 1916 Barrios had moved on to Brazil where he based himself for the next six years. Here proved an instant success and amid a busy concert schedule made visits to Buenos Aires presumably to continue recording.

After a disappointing return to Paraguay he once again settled in Brazil, where he remained until 1932. This was to be the most important period of his career, an epoch in guitar history.

Prompted by previous success in Brazil his commitment to the guitar was total. He visited all the 21 states during a second tour, composed the bulk of this major works and also found the time to commit them to record. Amongst the many titles recorded during this period were the now famous DANZA PARAGUAYA: LA CATÉDRAL, his evocative composition depicting the Cathedral of San José in Montevideo in winch one can hear the tolling of a mission bell: ORACIÓN, a poignant Schumannesque romance: WALTZES numbers 2 and 4 highly Chopinesque in their flavour, and the monumental tremolo composition SOUVENIR D´UN RÊVE, later to be known as UN SUEÑO EN LA FLORESTA, requiring a guitar with 20 frets. Excellent compositions employing Latin American folk rhythms, also recorded at this time, are CUECA, ACONQUIJA, AIRE DE ZAMBA, MAXIXE and PERICON a superb example of this Argentinian dance , standing out as somewhat unusual being in the key of F major with the sixth string of the guitar tuned down to D! A large number of works by other major composers were also recorded at this time.

Between 1932 and 1934 Barrios gave concerts in Trinidad, Venezuela (3 visits), Paraguay, Colombia, Panamá, Costa Rica, El Salvador, Honduras and Mexico. Whilst in Mexico he was patronised by the Paraguayan Ambassador, Tomas Salomini, and after a stay in Cuba set sail with Salomini for Europe. As far as we know hes concerts in Europe took place in Belgium, Germany and Spain. It has been suggested to this writer that Barrios also performed in England. Exhaustive research has failed to uncover any concrete evidence of this.

By 1936 Barrios was back in the Americans and gave two concerts in Trinidad. One on March 19th and another on April 8th. This writer was fortunate to obtain copies of the programmes of these hitherto unknown recitals from Roberts Edgeworth Johnstone who was resident in Trinidad at that time and had attended the concerts and studied with Barrios. 1937 found Barrios in the Dominican Republic then in Haiti. In early 1938 he was in Cuba again and by April revisited Mexico where he suffered a serious heart attack, ending any possibility of an intended visit to the United States. This setback forced Barrios to convalesce in Costa Roca with friends whose acquaintance he had made on a previous visit to that country. After recuperating, Barrios left Costa Rica and travelled yet again to El Salvador where he had already begun to attract a following. He added to the popularity of the guitar in this country by giving innumerable radio broadcasts and interviews. A visit to Guatemala City brought about a re-occurrence of earlier heart problems and he immediately returned to El Salvador.

Here he remained until his death on August 7th, 1944, the last year of his life were spent as a professor of the guitar at the National Conservatory in San Salvador. This post had been bestowed upon him by the then President of El Salvador, General Martinez.

Although suffering poor health throughout his last years Barrios enthusiasm for recording did not diminish. Four recordings exist which were made on a Crosley home recording unit. Of these, the two most notable recordings are DIANA GUARANI, which by then had already become a legendary compositions of his, depicting the war of the triple alliance between Brazil, Argentina and Uruguay against Paraguay in 1865 70. This composition contains bugle-calls, drums and even cannon – fire effects! The other, EL SUEÑO DE LA MUÑEQUITA is unique. At the end, Barrios can heard to speak a dedication to Fiorella Massi, the daughter of one of his associates. Although barely distinguishable he appears to say ¨Para la bella niña Fiorella de Massi de su novio que la adora ¨. Sadly, what is perhaps his most famous composition: UNA LIMOSNA POR EL AMOR DE DIOS which dates from this time, is not known to have been recorded. Hitherto ¨ unknown¨ recordings of Barrios continue to be found. Who knows, as yet, what remains to be discovered; Barrios composed somewhere in the region of 300 works and remember, this ¨pioneer¨ loved to record! It is this writer´s opinion that Barrios was truly dedicated to establishing the guitar and its music as a serious art form. Although biographical details suggest enormous success, which he did experience at times, a great deal of his life was spent struggling against adverse criticism. Some of this criticism still exists today. Steel strings, Indian Attire, Romanticism and humble origins are no longer important. What is important is the fact that not only did Barrios create a great number of compositions to broaden the guitar´s repertoire, he had the foresight to provide us with an audible account of how they should be played. No other composer guitarist of his day did this to such an extent.

The recordings on each disc are presented, as far as can be determined, not in order of record release, but in the chronological order in which they were recorded. Once the Matrix had been made, the record company could manufacture the finished record when they wished to do so. Available recording information shows that the release date of certain titles is not in the same order in which they were recorded.

The recordings from the 1920s are somewhat better than the early ones. Those recorded on the Atlanta and Artigas labels were recorded acoustically, whereas the later Odeon recordings used improved electric technology.

As all of Barrios recordings are fundamental to the history of the guitar, it has been decided to issue them complete – in spite of the fact that some of them are of poor audio quality.

For all who revere the guitar, as Agustin Barrios did, this collection of recordings if ¨ The legacy¨

ROBERT TUCKER,

Devon, 1988, revised 1993.

 

ÍNDICE DISCO Nº 1

 

COMPOSITOR                     TÍTULO                                   GRABACIÓN     DURACIÓN

Agustín Barrios                      Tango Nº 2                             (1910-13)                   (2:35)

Agustín Barrios                      D. Perez Freire                       (1910-13)                   (2:32)

Agustín Barrios                      Pepita Vals pate 1 y 2            (1910-13)                   (6:02)

Agustín Barrios                      Aire de Zamba {1 st rec}       (1922-24)                   (2:49)

Agustín Barrios                      Danza Paraguaya                   (17.04.28)                  (3:05)

Agustín Barrios                      Cueca (Danza Chilena)          (17.04.28)                  (3:20)

Agustín Barrios                      Romanza (Fuegos Fátuos)      (10.05.28)                  (2:25)

Agustín Barrios                      Maxixe                                   (13.05.28)                  (2:33)

Agustín Barrios                      Aconquija de la Suite Andina (29.05.28)                 (2:56)

Agustín Barrios                      Madrigal, Gavota                   (29.05.28)                  (3:13)

Agustín Barrios                      Contemplación, Vals               (20.06.28)                  (4:05)

Agustín Barrios                      Pericón                                   (20.06.28)                  (3:55)

Agustín Barrios                      Confesión, Álbum. Romanza  (21.06.28)                 (3:25)

Agustín Barrios                      Souvenir d´un Réve       (28.07.28 y 31.07.28)         (6:15)

                                               (Sueño en la Floresta) parte 1 y 2

Agustín Barrios                      Vals Nº 3                                (31.07.28)                  (3:29)

Agustín Barrios                      La Catedral                            (01.08.29)                  (4:32)

Agustín Barrios                      Oración                                  (27.03.29)                  (3:04)

Agustín Barrios                      Vals Nº 4                                (27.03.29)                  (3:16)

Agustín Barrios                      Armonías de América            (27.03.29)                  (4:07)

Agustín Barrios                      Invocación a mi Madre           (19.04.29)                  (3:53)

 

 

 

1. Tango Nº 2 - Agustín Barrios - Mangoré

 

 

2. Don Pérez Freire - Agustín Barrios - Mangoré

 

 

3. Pepita - Agustín Barrios - Mangoré

 

 

4. Aire de Zamba- Agustín Barrios - Mangoré

 

 

5. Danza Paraguaya - Agustín Barrios - Mangoré

 

 

6. Cueca  - Agustín Barrios - Mangoré

 

 

7. Romanza - Agustín Barrios - Mangoré

 

 

8. Maxixe  - Agustín Barrios - Mangoré

 

 

9. Aconquija - Agustín Barrios - Mangoré

 

 

10. Madrigal  - Agustín Barrios - Mangoré

 

 

11. Contemplación, Vals - Agustín Barrios - Mangoré

 

 

12. Pericón - Agustín Barrios - Mangoré

 

 

13. Confesión - Agustín Barrios - Mangoré

 

 

14. Un sueño en la floresta - Agustín Barrios - Mangoré

 

 

15. Vals Nº 3  - Agustín Barrios - Mangoré

 

 

16. La Catedral  - Agustín Barrios - Mangoré

 

 

17. Oración - Agustín Barrios - Mangoré

 

 

18. Vals Nº 4  - Agustín Barrios - Mangoré

 

 

19. Armonías de América - Agustín Barrios - Mangoré

 

 

20. Invocación a mi Madre - Agustín Barrios - Mangoré

 

 

 

 

 

 

 

 

 

14. Un sueño en la floresta - Agustín Barrios - Mangoré

Intérprete: BERTA ROJAS

 

 

 

 

 

 

 

16. La Catedral  - Agustín Barrios - Mangoré

Intérprete: BERTA ROJAS

 

 

 

 

 

MÚSICA PARAGUAYA - Poesías, Polcas y Guaranias - ESCUCHAR EN VIVO - MP3

MUSIC PARAGUAYAN - Poems, Polkas and Guaranias - LISTEN ONLINE- MP3

 

 

***********************************

ENLACE RECOMENDADO:

 

 




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