Etude 4 by Maximo Diego Pujol (1957-) Since his earliest days as a professional musician and composer, Pujol has strived for an ever-closer fusion of traditional Argentine Tango and formal academic concepts. This musical quest on the guitar stems from a thorough, almost obsessive, study of the works of Heitor Villa-Lobos and Leo Brouwer, who …
Aires Criollos by Agustin Barrios Mangore (1885-1944) This work is a medley of different melodies from Argentina. When Barrios first arrived in Buenos Aires in 1910, he earned his living playing guitar in theaters and movie houses during intermission and between acts. An extended potpourri of popular melodies worked well in this format, and Barrios …
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Etude 1 by Maximo Diego Pujol (1957-) Since his earliest days as a professional musician and composer, Pujol has strived for an ever-closer fusion of traditional Argentine Tango and formal academic concepts. This musical quest on the guitar stems from a thorough, almost obsessive, study of the works of Heitor Villa-Lobos and Leo Brouwer, who …
Escala y Preludio (Waltz) by Agustin Barrios Mangore (1885-1944) A work composed on August 15, 1941 in San Salvador, Escala y Preludio (“Scale and Prelude”) is examplary of Barrios eclectic style, combining harmonic traits from Baroque and Romantic periods.
Estudio Vals (Waltz) by Agustin Barrios Mangore (1885-1944) A study composed February 15, 1941 in San Salvador involving extended scalar arpeggios.
Estilo (Chinita) by Agustin Barrios Mangore (1885-1944) This composition Barrios created based on the Uruguayan musical form estilo. It carries the subtitle “Chinita” (little country lass”) which was the name Barrios used to call Aida, the youngest daugther of Martin Borda y Pagola, (who was a small child during the 1920’s when Barrios spent many …
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Etude 3 by Maximo Diego Pujol (1957-) Since his earliest days as a professional musician and composer, Pujol has strived for an ever-closer fusion of traditional Argentine Tango and formal academic concepts. This musical quest on the guitar stems from a thorough, almost obsessive, study of the works of Heitor Villa-Lobos and Leo Brouwer, who …
Altair (Waltz) by Agustin Barrios Mangore (1885-1944) A simple waltz probably written circa 1916 in Brazil. This is the only work in which Barrios is seen to repeat himself; in this work, the last twelve measures are identical to those in the work Humoresque.
Fabiniana by Agustin Barrios Mangore (1885-1944) Composed in Uruguay in 1924, this work is dedicated to the Uruguayan violinist Eduardo Fabini with whom Barrios played concerts on different occasions in the 1920s. Fabiniana is an eclectic blending of classical music traits with references to the Uruguayan folkloric form known as triste (Fabini is well known …
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Pepita (Vals) by Agustin Barrios Mangore (1885-1944) Barrios’s compositions can be divided into three basic categories: folkloric, imitative and religious. Barrios paid tribute to the music and people of his native land by composing pieces modeled after folk songs from South America and Central America. Imitating the compositional style and techniques of the Baroque and …
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