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Agustín BARRIOS (1885–1944) Guitar Music – Volume 3 Caazapá – Aire popular Paraguayo (arr. McFadden)
[3:15] Don Pérez Freire (tango) [3:13] Medallon
Antiguo [2:59] Vals Tropical [2:46] Arabescos (Estudio
No. 4)[1:25] Escala y Preludio [1:43] Estudio
Vals [1:34] Estudio in A [2:00] Estudio
inconcluso [0:57] País de Abanico [4:26] Fabiniana [2:27] Tango
No. 2 [3:21] Tua imagem – Vals [3:35] Leyenda
de España [4:09] Capricho Español [2:54] Alegro
Sinfonico [2:37] Luz Mala [1:34] Minuet
en la [2:50] Estilo Uruguayo [2:57] Danza
Guaraní [1:34] Tarantella (arr. McFadden) [3:35]
Jeffrey
McFadden (guitar)
rec. 2-5 February 2006, St John Chrysostom Church, Newmarket,
Ontario, Canada NAXOS 8.557807 [55:54]
As a concert guitarist Barrios promoted himself as “The Paganini
of the guitar from the jungles of Paraguay”. This was also the
time when he added the Guaraní name ‘Mangoré’ and performed
the first half of his concerts wearing Indian head-dress.
His main musical influence was the traditional music of Paraguay
and other Latin-American countries, where the rhythmic elements
were to the fore. He became very popular and toured widely,
also to Europe where his success was more limited. After
his death he was more or less forgotten until the 1970s when
his music suddenly became fashionable. He was obviously a
great improviser and never performed his compositions the
same way twice. Much of it wasn’t even set down on paper
but from quite early on he made recordings starting in 1913.
Through these it has been possible to learn more about his
style of playing and even transcribing music. I suppose that
the first and last pieces (tr. 1 and 21) are results of this;
the liner-notes don’t tell us.
Besides rhythmic interest he had rare melodic gifts and whether
they are his own creations or adaptations of folk melody there
is a lot here to engage the ear. There are also a number
of ‘Estudios’ that have less to offer musically. They do
however serve to show Jeffrey McFadden’s finger-work which
of course is beyond reproach. What some may find a nuisance
is the amount of noise from the finger-board. It is difficult
to avoid; one hears it to a greater or lesser extent on most
guitar recordings.
Perhaps this isn’t the essential Barrios, for that one should
turn to volume 1 (see review;
see also Volume
2), but there is a lot here to enjoy; a lot
to admire. The first
three tracks are all gems: the extremely beautiful
Paraguayan folk song, the rhythmical tango and the soft and
beautiful Medallon Antiguo, played con amore.
The tango, by the way, was named after Osmán Pérez Freire,
a Chilean composer of popular music, and the Medallon
Antiguo (Old medallion) refers to a piece of jewellery
worn by an opera singer from Buenos Aires, with whom Barrios
fell in love. The first three notes of the theme are from
a song by Pergolesi that she used to sing. Of the remaining
pieces País de Abanico in ¾ time has some interesting
harmonic turns and Fabiniana sounds like an improvisation.
It is a homage to Barrios’s concert partner, the famous violinist
Eduardo Fabini. There is true Spanish flavour in Leyenda
de España and Capricho Español and the concluding Tarantella is
virtuosic.
Some years ago I was deeply impressed by Jeffrey McFadden’s debut
disc with music by Napoléon Coste. His playing here is just
as deeply assured and well considered. Norbert Kraft and
Bonnie Silver in their favourite venue in Newmarket have
produced another winner, bar the aforementioned noises from
the finger-board, which they can’t do much about.
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