[Blueboard] Filipino Concert Guitarists Perform at the Ateneo de Manila University

M.Tendero mtendero at ateneo.edu
Sat Jan 14 11:28:36 PHT 2012


Filipino Concert Guitarists Perform at the Ateneo de Manila University

===

6 Filipino guitar artists

Aaron Aguila
Renz Mendoza
Adrik Cristobal
Roneil Santos
Franco Maigue
Christian Castro

will perform for the very first time at the Ateneo de Manila University

on 24 January 2012, Tuesday
at 4:30-5:30 p.m.
at Escaler Hall, Science Education Complex


The artists will play classical pieces by Agustin Barrios Mangore,  
Nicolo Paganini, Johann Mertz, Sergio Assad, and others.

They are the 6 Filipino artists who will perform at the
2012 Philippine International Guitar Festival on 26-29 January 2012
at the Cultural Center of the Philippines.

Catch this special concert, enjoy some beautiful guitar music, and  
support our Filipino artists!

ADMISSION IS FREE
but donations for the victims of Sendong will be accepted.

Brought to you by the School of Social Sciences, Ateneo de Manila University


***

The Artists and their Repertoire


1. Aaron Aguila

Vals no. 3 by Agustin Barrios Mangore

Vals.no 3 a composition by Agustin Barrios. Vals is an Argentine tango  
style, the tango version of waltz. Unlike Argentine Tango and Milonga,  
there are no stopping figures. The vals is danced in a continuous  
movement. Not to be confused with the Peruvian Waltz, most widely  
known as Vals criollo. Agustín Pío Barrios (also known as Agustín  
Barrios Mangoré.), an eminent Paraguayan guitarist and composer,

[Barrios was famed for his phenomenal performances, both live and on  
gramophone recordings, although Barrios is usually credited as the  
first classical guitarist to make recordings in 1909/10. His works  
were largely late-Romantic in character, despite his having lived well  
into the twentieth century. Many of them are also adaptations of, or  
are influenced by, South American and Central American folk music.  
Very many of them are of a virtuosic nature. . "Barrios' music is very  
guitaristic, rather like Chopin is for the piano. In this way he has  
filled that need of every instrument to have its composer who  
"belonged" to the instrument and at the same time wrote great music."]

Caprice No. 24 in A minor

Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's  
24 Caprices, and a famous work for solo violin. The work, in the key  
of A minor, consists of a theme, 11 variations, and a finale. His 24  
Caprices were probably composed in the period between 1805 to 1809,  
while he was in the service of the Baciocchi court. It is widely  
considered one of the most difficult pieces ever written for the solo  
violin. It requires many highly advanced techniques such as parallel  
octaves and rapid shifting covering many intervals, extremely fast  
scales and arpeggios including minor scales in thirds and tenths, left  
hand pizzicato, high positions, and quick string crossing.

[Niccolò (or Nicolò) Paganini (27 October 1782 ? 27 May 1840) was an  
Italian violinist, violist, guitarist, and composer. He was one of the  
most celebrated violin virtuosi of his time, and left his mark as one  
of the pillars of modern violin technique.]


2. Christrian Castro

Koyunbaba by Carlo Domeniconi

Carlo Domeniconi is an Italian guitarist and composer who lives in  
Berlin but spent many years living and teaching in Istanbul. The  
influence of the Turkish music plays a large part in his compositions,  
particularly in the piece Koyunbaba. It is the name of a bay in the  
southwest of Turkey, bordering the Mediterrenean. Domeniconi writes  
here for the guitar to be tuned in c# minor, totally different to the  
normal tuning and the sound is rich and exotic. It is in four  
continuous sections.


3. Renz Mendoza

La Catedral By Agustin Barrios Mangore

The works of J.S. Bach influenced greatly the music of Barrios. It is  
said that the composition of his most famous work, La Catedral, was  
inspired by a visit to the Cathedral of San José in Montevideo.  
Barrios composed two movements of the work in 1921 ?Andante Religioso  
and Allegro Solemne. While living in Havana in 1938 (17 years later  
after the composition of the first two movements), he revisited the  
piece and added the Preludio Saudade (?nostalgia?), creating a  
3-movement work. This was a time of declining health, as well as  
financial and marital problems. The Preludio reflects this sense of  
sadness and longing for something better.

The broad, horizontal chords of the andante represent his impressions  
of the organist playing Bach chorales in the cathedral. The ensuing  
allegro symbolizes his leaving the calm, spiritual atmosphere of the  
cathedral and entering out into the street, where the hustle and  
bustle of the real world is represented by incessant sixteenth note  
arpeggio figures.


4. Adrik Cristobal

Sonata K. 78 by Domenico Scarlatti

Giuseppe Domenico Scarlatti (26 October 1685 ? 23 July 1757) was an  
Italian composer who spent much of his life in the service of the  
Portuguese and Spanish royal families. He is classified as a Baroque  
composer chronologically, although his music was influential in the  
development of the Classical style. Like his renowned father  
Alessandro Scarlatti he composed in a variety of musical forms  
although today he is known mainly for his 555 keyboard sonatas.

Tarantelle by Johann Kaspar Mertz

Mertz was active in Vienna (c.1840~1856), which had been home to  
various prominent figures of the guitar, including Anton Diabelli,  
Mauro Giuliani, Wenceslaus Matiegka and Simon Franz Molitor. A  
virtuoso, he established a solid reputation as a performer. He toured  
Moravia, Poland, and Russia, and gave performances in Berlin and  
Dresden. In 1846 Mertz nearly died of an overdose of strychnine that  
had been prescribed to him as a treatment for neuralgia. Over the  
following year he was nursed back to health in the presence his wife,  
a concert pianist, Josephine Plantin whom he married in 1842. Some  
speculation may lead one to the conclusion that listening to his wife  
performing the Romantic piano pieces of the day during his period of  
recovery may have had an influence on the sound and unusual right hand  
technique he adopted for the Bardenklange (Bardic Sounds) Op.13.

[Mertz's guitar music, unlike that of most of his contemporaries,  
followed the pianistic models of Chopin, Mendelssohn, Schubert and  
Schumann, rather than the classical models of Mozart and Haydn (as did  
Sor and Aguado), or the bel canto style of Rossini (as did Giuliani).]


5. Franco Maigue

Aquarelle: Valseana and Prelude y Toccatina by Sergio Assad

Born into a musical family in Mococa, São Paulo, Brazil, Sergio Assad  
began creating music for the guitar not long after he began playing  
the instrument. He learned Brazilian folk melodies from his father. By  
age 14, he was arranging and writing original compositions for the  
guitar duo he had formed with his brother, Odair. At the age of 17, he  
and Odair began their studies under the best known classical guitar  
teacher in Brazil at the time, Monina Tavora, a former disciple of  
Andres Segovia. Sergio later went on to study conducting and  
composition at the Escola Nacional de Música in Rio de Janeiro, and  
worked privately with Brazilian composition teacher, Esther Scliar.

Vals no. 4 by Agustin Barrios Mangore

Agustín Barrios Mangoré (1885-1944) was one of the most successful and  
influential guitarist/composers of the first half of the twentieth  
century. His compositions range from simple etudes to wildly virtuosic  
multi-movement works. The majority of these works fall into one of  
three categories: folkloric, in which pieces were modeled after South  
American folksongs; imitative, in which composition styles and  
techniques were borrowed from the Baroque and Romantic periods; and  
religious, in which pieces were inspired by Barrios? own religious  
experiences and beliefs. As a performer, his virtuosic abilities have  
been compared to other composer/performers such as Niccolò Paganini.


6. Roneil Santos

Julia Florida (Barcarola) by Augustin Barrios Mangore

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 Romantic periods  
was another side to his craftsmanship. The barcarola is the style of  
music sung by the gondoliers in Venice, Italy or any music that is  
created in this style. The music is typically in 6/8 or 12/8 meter to  
simulate the motion of the boat moving through the waves of the water  
with the rhythmic rowing of the gondolier.

Hungarian Fantasie by Johann Kaspar Mertz

Johann Kaspar Mertz was born in Pozsony, Hungary, on August 17, 1806.  
He exhibited remarkable talent as a child on both the guitar and  
flute, but the family's dismal financial circumstances inhibited his  
development. By 12 he was contributing to the family income by giving  
music lessons.

[Mertz's guitar music, unlike that of most of his contemporaries,  
followed the pianistic models of Chopin,Mendelssohn, Schubert and  
Schumann, rather than the classical models of Mozart and Haydn (as did  
Sor andAguado), or the bel canto style of Rossini (as did  
Giuliani).The Bardenklänge (1847) are probably Mertz's most important  
contribution to the guitar repertoire?a series of deceptively easy  
character pieces in the mould of Schumann.]



-- 
Milet Tendero
Assistant to the Dean
School of Social Sciences
Ext. 5201






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