Guitar World

Enjoy this lovely Bach Prelude, played by Xaranova from Youtube.

For this video I am indebted to Per Olov Kindgren for his beautiful composition “Before Silence” he plays here. John Williams says of the guitar, “The beauty of the guitar is the dying away of the note”… This piece strikes at that very essence of the classical guitar beauty. I am pleased to welcome Peo to my site in an interview in my pages section.

Here is a guitar video offering, from the legendary Flamenco guitarist Sabicas, playing his Arabian Dance. I can only marvel at his techniques…I love Arabian music, full of the spices of the east, great improvising music. If anyone knows where the score to this piece is available, please let me know.

The guitar compositions of Agustin Barrios Mangore must be the most coveted of all classical guitarist composers. Following the composers death in San Salvador his music died with him, because there was only 10 pieces he ever bothered to publish. In answer to a question why did he not publish his works for guitar, Barrios is said to have replied something akin to; “What’s the point, hardly anyone else can play my music”. This, at that time, was true. One who certainly did have the technique was Andres Segovia, and the subject of Segovia’s antipathy for Barrios  is a complex issue which I will leave to a later post.

Barrios had the roots of his music steeped in Folklore, and indeed was quoted as saying; “One cannot be a guitarist if he has not bathed in the fountain of culture”. Though he did in fact compose in many styles, Baroque, Classical, Dance, many of his pieces were based upon the local, exotic rythyms, yet often tinged with lament. As in, happy, then sad emotions. Many times his works were autobiographical, detailed from his colourful life as a travelling musician.

Barrios was the first ever guitarist to make records, dating from around 1908, and it was from these that, for many years, were the only record of his works. In late ’70’s Robert Tucker contacted guitarist John Williams, with a view of interesting him to transcribe some Barrios music, and possibly record them. After 2 years, Williams agreed, and John Williams plays Barrios, 1977, was the first all Barrios record, the spontaneous beauty of the music leading to many other guitar recordings to follow. Now there have been many volumes of music published of this formerly forgotten genius of the guitar. Naxos music have had in progress the complete works of Barrios on CD, a project which entails different players recording the many volumes. So far, we are up to volume 3. It is this series which I would like to highlight here.

Volume 1 played by Antigoni Goni (Greece)

This is my personal favourite volume, or for that matter, one of my all time favourite CD’s. Goni is, on the whole, a slower than average player. She gives detailed study to every single phrase she plays,  with rich tonal sonorities. The CD opens with the sprightly Maxixe (pronounced Mash-e-shay) followed by the serene, virtuose tremolo “Sueno En La Floresta”, Goni’s technique proves more than adequate, but it is the intensity of the interpretations which stand this CD out from it’s peers.

Track listing can be found here; Barrios Volume 1 

If I had to single one track out it would be Vidalita. This innocent theme and variations, draws so much heartfelt emotion from the guitar it is profoundly moving, with superbly judged tonal contrasts. Other “lesser” known pieces such as Humouresque  and Pepita come across as beautiful, haunting compostions, almost like composer, artist, instrument in perfect harmoney.

Highly recommended, for those who missed it. For anyone who has the CD, I recommend putting it on right now! It’s one way to truly appreciate the life we lead.

Volume 2. Played by Enno Voorhorst.

Track listing here

Belgian guitarist Voorhorst takes up the project in volume 2, and he takes on Barrios longer works, although generally speaking, Barrios did not write many “long” pieces. Tremolo works “Cancion Del Hilandera (song of the thread spinner) and “The Last Song” (Una limonsna por el amor de Dios) and “Contemplation” are all given a fluent, impassioned reading. “El Sueno en la Mannequita” is the sleep of the little doll, inspired by the innocence of a young girl. The three movement “Cathederal” is Barrios arguably most important work, the prelude added later, as a Saudade (yearning) composed in Cuba during difficult period of his life.

Many of Barrios most deeply romantic works are here,  Invocation a mi Madre, Oracion, and Confession. The recital ends with Variations on Lagrima by Tarrega, possibly Barrios most complex work technically. Another superb, highly recommended recording. Interestingly, the link I gave above lists two “extra tracks”..This is a mystery to me, if you know what they are please let me know!

Volume 3 played by Jeffrey McFadden (Canada)

Track listing here.

McFadden takes up the reins with another impressive performence here. Although, this disc certainly is not Barrios at his best as a composer, I would admit. I’ve always been intrigued by Barrios “lesser” know pieces. Many compositions have been played time and again, yet there are some relatively fresh material, charming and evocative, which deserve to be heard. Example is the opening track, “Cazaapa”, which is fast becoming popular. The tango “Don Perez Freire” an example of a highly infectious main theme. If I have one minor quibble of Barrios music, it is often the quality of his trio, or middle sections, or third subject. This tango is classic example. A very catchy main these, good second subject, but then a patched up offering in the middle, devoid of inspiration, seemingly to “make up” the piece into a whole. The second offering in this genre “Tango no.2″ is in the same vein I feel. This type of flaw affected a number of early works, in my view. Though in later years, the composer showed more artistic maturity.

“Tua Imagem” (your image) is a charming waltz, “Pais de Abanico” (country of the fan) was inspired by the picture on a porcelain hand fan! “Medallon Antiguo” (the old medallion) was said to be worn by a singer whom Barrios was in love with at the time.

These pieces aside though, the rest of the disc contains very small studies, (though missing Las Asbejas and study in A, far and away Barrios best) a couple of little spirited dances, virtuoso Tarantella to conclude. Perhaps, on their own, comparitively thin material.

The playing is excellent, McFadden phrases beautufully in Don Perez Freire and Medallon Antiguo, but I only recommend this disc to Barrios affectionado’s. Of which there are many, in order to complete their collection. The works here though, do not represent Barrios at his best. I find it hard to believe so far, these  collections do not include pieces such as “Choro Da Saudade” or “Vals no. 3″. I can only speculate who the guitarist will be for volume 4, which is long overdue!

It’s time I introduced my duet partner..All the way from Mexico City, Ms Eloisa Lafuente. We met a few years ago on the internet, and we began making on line collaborations with our guitars. Strange how even professional musicians are totally baffled how we can play guitar duets on opposite sides of the world. The reality is, it’s easy. But it’s much easier if you have someone who it totally tuned in to your way of thinking, feeling. That, from the beginning, has been the foundation of our collaboration. And friendship.

Eloisa is a lady of many talents, and I interviewed her for my page, link above, in pages section. Also, I put up some files of the quartet she plays in, “The Fool on the Hill”, an Arabic dance and a piece by Vivaldi.

Update…We hope to soon start to record a theme and variations duet by Sor

If you’ve seen the film “The Mission” and perhaps became curious about the Indian tribe depicted in the film, the Guarani, who made such beautiful music…

I made a page on this site about Agustin Barrios Mangore, one of the most famous descendents of the Guarani race. I have always been fascinated by the guitar works of this man, whose colourful exotic rhythms are often interspersed with romantic melodies, evoking emotions of merriment, and yearning lament.

It’s sometimes a sad thing that a number of guitar commentators seem to denigrate those who wrote for guitar, such as Sor, Guliani, Barrios, Coste, citing them as inferior composers to likes of Beethoven, Bach and Rachmaninov. This because they wrote for guitar and not much else (or nothing else) Yet, I never hear Harpsichord players denigrate Scarlatti, in the light of Bach, for example. The works of both men are there to be enjoyed.

Why then, is there this self destruct element among guitarists? Snobbery perhaps? Or is it as I suspect, WOULD be guitarists, the critics, who pick on names like Barrios, claiming that, simply because he only wrote for guitar, he is “inferior” to likes of Villa Lobos, who was prolific in orchestral terms. Perhaps it is because the solo guitar reportoire is cut off from other instruments that makes some people cynically rebuke those who wrote soley for guitar, the snide inference often being that these composers had in Segovia’s words, “not the proper training in music”.

If Segovia felt like that I sometimes wonder why he did not do more to attempt to commission the likes of Rachmaninov, Ravel, to write for guitar, instead of courting only his compatriots such as Morreno Torroba, Turina, and friends like Tedesco, Tasman for example. These symphonic composers wrote many fine additions to our reportoire, but in terms of “great composers” most will place them far below Ravel and Rachmaninov. In this way, Segovia was perhaps as “guilty” as those he accuses others of being, that is overlooking the musical greats, in favour of persuing guitaristic elements.

I think all those who made contributions deserve to be heard, and on an equal footing. I’ve heard Julian Bream play Sor right before playing Bach, and Sor was not disgraced in any way. My pages on this site is intended to celebrate the works of those who wrote for guitar, who’s dedication to the instrument created an enrichment to the reportoire, and inspired new composers to take up the pen for the instrument.

Photo by Lakerae of flickr.

I had the pleasure of seeing guitarist Richard Durrant in concert earlier this month. The concert format he uses is “The Guitar Whisperer”…Richard once toured with group Sky, John Williams late replacement.

The concert is a mixture of classical guitar favourites, electric guitar multi tracked, and Richard’s other beloved instruments, the Banjo, Ukulele.

The concert setting was impressive under the lighting, with the array of instruments in a circle, creating an atmosphere of playing beneath the stars. The first half was classical works, beginning with Spanish classics “Recuerdos de la Alhambra”, the evergreen evocation of the Alhambra palace near Granada, by Spanish composer Fransisco  Tarrega. After that came ”Asturias” or Leyanda by Albeniz, “Cavatina” by Myers, “Sakura Variations” the charming variations on a Japanese folk song.

It’s always a wonder to me how the guitar can “vocalise” in many accents. For example, Spanish music played by Pepe Romero for example is so typically steeped in the Spanish accent. Yet Romero playing Latin American music does not always have the latin accent brought out by players such as Diaz or Rojas. This is NOT to say it sounds inferior, just the way the idiom comes accross. Julian Bream’s renditions of albeniz and Granados I think  peerless, but even this does not bring out the Spanish flavour. I think of them as classical interpretations of these works. Durrant has a gift of bringing out the musics natural idiom, even adding his own personal touches to Alhambra and Leyenda.

Then came a suprise, as the performer took up his banjo, inserted two clothes pegs under the strings, and proceeded to play a Bach prelude! Followed by a Bach Cello suite on the Ukulele. The Banjo exuded a much higher quality sound than I have been accustomed to hearing, and the Ukulele sounded much like a Baroque guitar, far removed from George Formby Banjo-Ukulele! Following that was a more recent Cuban composition for guitar, steeped in the tradition of the Rumba.

Second half, apart from Gomez Crespo’s charming Inca folk song “Nortena”, was mostly electric guitar, featuring the old Sky track written by Herbie Flowers, “Westway” inspired by traffic moving along a main highway. Lastly, Durrant’s interpretation of Steve Reich’s “Electric Counterpoint”, which included two previously recorded tracks for backing. An off the cuff encore followed, mostly audience requests.

Richard Durrant is an engaging performer, who clearly enjoys mixing with the audience, meeting and talking to us in the interval. All in all, an enjoyable night.

I have always found it a wonder the way a guitar can “vocalise” in different accents. If you listen to John Williams, for example, playing the famous Memories of the Alhambra, it will sound immaculate, the rippling tremolo melody flawlessly executed, but it will not “sound Spanish” in the same way as Spanish virtuoso Pepe Romero

Carlos Perez brings out the Latin American accent, while listening to him it is easy to experience the Latin American Rhythms and colour. Vladimir Mikulka’s guitar has the more harsh Balkan accent, more austere perhaps, but not without it’s own whimsical beauty.

A classic case in point is Julian Bream, who I think plays Albeniz and Granados second to none. Yet, it is like a classical rendition of Idiomatic Spanish music.

What is it about the six strings of the guitar that can “vocalise” so effectively? Is it the instrument itself or the player, or both? I think the latter. Of all the musical instruments, there are only very few which the sound is made by direct contact between the fingers and instrument. The Harp is one, the Guitar the other. Mandolin and the Lute also come to mind in same way. With Piano, for example, the sound comes from hammering on the strings, as such the Piano is considered a percussive instrument. Violin, and Cello, mostly the sound comes from the bow.

But I think even wind instruments such as the Flute, Clarinet and Oboe, for all their great melodic capabilities, do not quite match the Guitar’s “accents”, even though the human breath comes into play to make the notes. Listen to Bream playing Albeniz, then Romero, to get my point

Am I in disguise…No, it’s the same Mark Antony from “Hotel Mark” blog, the life and times of an amateur guitarist.  My former readers will note I’ve changed domain, and host, after deciding the technical issues with my former hosts cannot be resolved, and my websites will have better focus here. I hope those who read my blog will follow me here, and new readers always welcome

My theme here will be predominately classical guitar, an appreciation, from one who has been involved as restaurant guitarist, writer, observer, critic, and best of all, an enthusiast. Some of my more popular posts from Hotel Mark will be added here, and later I aim to include a new category of guitar tuition, playing and studying tips, and a web forum. If you love the guitar, there will be plenty here of interest, and if not…well…er…I’m still here, if that’s any good!