This CD features
pieces that were part of the duo repertoire performed in Argentina, Europe and
USA during the past two years. These pieces are from argentine and
Latin-American composers which reflect the rhythms of theirs countries
(Argentina, Brazil, Venezuela, and Paraguay). It was very important for us to
have the participation of our colleagues and invaluable friends David Caswell
(the English tanguero), Víctor Villadangos – renowned argentine guitarist, and
Marcelo Ferraris. With them we interpreted some of the pieces in trios and
quartets. We especially want to thank them for their participation.
The first piece was
composed by Agustín Barrios Mangoré,
ositions are based on Latin American songs and dances such as cueca,
chôro, estilo, maxixa, milonga, pericón, tango, zamba, and
zapateado. He lived in Argentina, Uruguay, Brazil, Venezuela, Costa Rica, and El
Salvador where He died in 1944. His “Study
in B minor”
was
originally composed for two guitars.
We specially want to
recognize Máximo Diego Pujol’ compositions (1957- ). He is one of the
argentine guitarists and composers that currently has more international
recognition. His repertoire includes guitar solos, duos, quartets for guitar and
other instruments, etc. His compositions are interpreted and recorded by the
best musicians of the world, and have been published by the most important
publishing houses in different countries. This is the reason that we feel
flattered that “CAFÉ PARA DOS” (Coffee for two)
, which
gives name to this CD, is dedicated to the duo Bocaccio-Gallino. This is the
first time this composition is recorded.
“TRUCO SUITE”
is an
original for two guitars, and its debut was performed by the duo Bocaccio-Gallino
in Buenos Aires in august 2000. It consists of four movements, and it is
inspired by the argentine and Uruguayan popular card game. Its four movements (Primera,
Falta envido, Truco y Vale cuatro) represent the different stages of the game.
We also like to recognize “TANGONDÓ”
(original work for three guitars), with the participation of maestro Víctor
Villadangos. In this piece, the composer experiments with various tonalities at
the same time among the three guitars, to then reach a traditional harmonic
section, and a romantic style.
The word “COROTO”is very common in
Venezuela, and it is used to denote an object, especially when it comes to home
fixtures. As a part of speech, this word was used in the past: Good bye Coroto!.
With this title the guitarist and composer Alfonso Montes (1955 -) wrote
this original waltz for two guitars. We are delighted to interpret it.
Jorge Cardoso, concertist,
composer, investigator, and doctor composed more than 350 works for guitar
solos, duos, trios, quintets, and concerts. We chose two of his works
“MILONGA
(24 SOUTHAMERICAN PIECES)”
, and
“ENTRE HINOJOS, ORTIGAS Y
CARDOS”,, which we interpret with maestro David Caswell.
We chose two argentine works with folklore roots arranged by
Osvaldo Burucuá , “LA NOCHERA”
. The first is a Zamba,
music by Ernesto Cabezas, and “CALLE ANGOSTA”,
, a Cueca,
with music by José Alfonso. The zamba is a descendant from zamacueca
which originates in Peru. This one in turn is a direct descendant form the
Spaniard Fandango, and the Lariate. The latter one being preferred by the native
Indians and black brought from Africa (zambos). Its name is derived from the
fact that these ballads were dedicated to the zambas (black slaves). The cueca was introduced in Argentina in two ways, going from
Chile to the saloons of Mendoza, and from Lima to Jujuy, Salta and Tucuman,
between the years 1825 and 1830. This is where the Chilean cueca transforms into
the Argentine cueca, and Cuyan zamba. Both choreographies vary only in the
musical speed.
There are a few tangos from Argentine composers that we chose
to perform. One of them is Angel Villoldo that brags to be “the father of
tango”, even though there were many circunstances that contribute to the origin
of this music. He is the great transformer of the Spaniard tanguillos,
cuples, and habaneras converting these styles into a La Plata River sound. Among all the tangos he composed, there is
“EL CHOCLO”,
that we interpret in an arrangement for two guitars by Enrique
Bocaccio. Irene Villoldo, the composer’s sister, clarify one time that “EL
CHOCLO” in reality was a malignant character, a “fioca” a scrounger.
He settled in the proximity of Junín and Lavalle streets. He
was called “El Choclo”, because of the color of his hair.
Sebastián Piana, pianist,
director, composer, and teacher, was born in Buenos Aires November 26, 1903 in
the suburb of Almagro. At the age of 10, he studied music with his father. His
professional debut was when he was 17, in a movie theater playing waltzes and
Opera pieces. In 1926 he meets Homero Manzi whom he teams with to compose many
works in the following years. He also had a very important musical relation with
Cátulo Castillo. They composed “CASERÓN DE TEJAS”
. The waltz we
interpret is an arrangement by Máximo Pujol. We are lucky to meet him and be his
students in the chamber music class in the Manuel de Falla Conservatory.
If there is a tango that identifies this musical gender is
“LA CUMPARSITA”
by Gerardo Matos Rodríguez, pianist, composer,
and reporter was born in Montevideo March 28, 1897, and died in there April 25,
1948. In our tours this is a theme that inevitably people want to hear. This is
the reason we incorporated it in an arrangement by Sinopoli-Gallino.
Another important tango representative is without any doubts
Horacio Salgán, director, pianist, and composer. He was born in the
Capital of Buenos Aires on June 15, 1916. He is considered one of the most talented pianists of the
history of tango. He is also an authentic arranger, who worked on old themes and
transformed them. He lands in the movies called by the Spaniard movie director
Saura for his movie “Tango”. There we see this maestro interpreting in piano
his classic works"A FUEGO LENTO".
. This is the one we
chose for this CD in an arrangement by Máximo Pujol with contributions by Juan
Gallino.
From Celso Machado -master of the Brazilian rhythms. Virtuous
guitarist, and multi-instrumentalist, born in 1953- we interpret two original
works for four guitars together with David Caswell and Marcelo Ferraris. “CIRANDA
(RODA, RODA)"
is dance of Portuguese origin. Its name is derived
from a tool, used in the farms to select cereals. In Portugal as well as in
Brazil, it consists of a sung dance with a very simple choreography.CATERETÉ
also called Catira, is an indigenous Brazilian dance found in San
Pablo, Rio de Janeiro, Minas Gerais, Mato Grosso, and Goias. There are reports
of this African dance, having been brought to Brazil by the African slaves.
