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..Nosotros dos en una hermosa sala en el centro de Lóndres eran las 7 de la noche y la gente plenaba la sala y el crepitar de nuestras cuerdas hizo palpitár esos corazones de diversas partes del mundo realmente un compromiso ,nuestra música y patrias encendidas Brasil y Venezuela ...Pixinguinha y don Armando Molero entre nuestras trastes y la encendida vitalidad del cuatro con la guitarra aquí un extracto en inglés de el programa de mano elaborado por el maestro Juán Monroy "chileno " y productor del evento,con alguna crítica relacionada y hecha por una maestra amiga de Clássical Guitar Tereze Basili Saba
Presented in association with the
BRAZILIAN EMBASSY.
CARLOS BARBOSA-LIMA, Guitar
GUSTAVO COLINA, Cuatro
FRIDAY 9th SEPTEMBER 2005 at 7.30pm
PURCELL ROOM, RFH, LONDON SE1 8XX
PROGRAMME
GUSTAVO COLINA, Cuatro solos
POLO VENEZOLANO*
Improvisation, Venezuelan folklore
DESTELLO DE AMOR
ARMANDO MOLERO (1889-1971)
SAN RAFAEL*
Improvisation, Venezuelan folklore
CARLOS BARBOSA-LIMA, Guitar solos
ADIOS*
ENRIQUE MADRIGUERA (1904-1973)
EDDIE WOOD
SIBONEY*
ERNESTO LECUONA (1896-1963)
PERFIDIA*
FRENESI*
ALBERTO DOMINGUEZ (1913-1975)
STRING DUO: GUITAR AND CUATRO
LA REINA* Contradanza marabina
AMABLE TORRES (1860-1908)
PORRO
GENTIL MONTAÑA (b. 1942)
EL SUEÑO DE ANGELITA
FELIX PEREZ CARDOSO (1908-1953)
ANGOSTURA Valse Venezolano
NATALIA Valse Venezolano
ANTONIO LAURO (1917-1986)
INTERVAL
GUSTAVO COLINA, Cuatro solos
LLUVIA SOBRE METAL
GUSTAVO COLINA (b. 1972)
CARNAVAL*
Improvisation, Venezuelan folklore
DEL FLAMENCO AL JOROPO
TOMAS MONTILLA
STRING DUO: GUITAR AND CUATRO
GOLPE AL DIABLO DE CARORA
CANCION CAROREÑA
MERENGUE CRIOLLO
RODRIGO RIERA (1923-1999)
EL NIÑO*
EL MARABINO
SEIS POR DERECHO
ANTONIO LAURO (1917-1986)
CARLOS BARBOSA-LIMA, Guitar solos
COCHICHANDO*
UM A ZERO*
ALFREDO VIANNA (1897-1973)
AQUARELA DO BRASIL*
ARY BARROSO (1903-1964)
ONE NOTE SAMBA*
ANTONIO CARLOS JOBIM (1927-1994)
*Arrangements for solo guitar by Carlos Barbosa-Lima.
*Arrangements for solo Cuatro by Gustavo Colina.
*String Duo: guitar and cuatro co-arranged by
Carlos Barbosa-Lima and Gustavo Colina.
El Sueño de Angelita, transcribed by Berta Rojas.
Presented by JRM MANAGEMENT
Kindly visit our Website at www.laccs.com
LATIN AMERICAN AND CARIBBEAN
KNOW YOUR THE ORIGIN OF THE CUATRO
The historical background of the Cuatro rest
on the theory that it comes from Egypt and
before that from the Assyrian culture.
Furthermore, Adolf Salazar, string instruments
Spanish analyst, confirmed the Cuatro
arrived in Venezuela with the first Spanish
conquerors and entered through the city of
Coro, the most developed city in the XVI
century in Venezuela. This instrument
belonged to the Renaissance period; it can be
made by hand using either cedar or pine
woods in the diapason and its playing involves
talent, dedication and experience. Its origin is
llanero with four strings: fourth, second, first
and third, that is to say, La, Re, FA# and Si or
Sol, Do, Mi and La to ascend. When playing
the Cuatro, rhythm is a matter of ear and in
consequence is very difficult to make written
norms for strumming on the instrument.
GUSTAVO COLINA Cuatro solos
POLO VENEZOLANO
Improvisation Venezuelan folklore
DESTELLO DE AMOR
ARMANDO MOLERO (1899-1971)
Molero was born in Maracaibo, Venezuela
and was known as “the singer of all times”.
He was also a guitarist and a composer. He
dedicated extensively to artistic activities
with performances on the stage as well as on
the radio and he incorporated in his compositions
almost all genres of zuliana music. his
best well known songs are Destello de Amor,
El Cocotero and Trigueña Preciosa.
SAN RAFAEL
Improvisation from Venezuelan folklore
CARLOS BARBOSA LIMA Guitar solos
ADIOS
ENRIQUE MADRIGUERA (1904-1973)
EDDIE WOOD
Enrique was born in Barcelona and was a
child prodigy on violin, he gave concerts at a
very early age. He wrote and arranged sweet
dance music and later emigrated to South
America and in Colombia worked as a Music
Director for Columbia Records. In the late
thirties he went to New York and formed his
first band the Enric Madriguera Orchestra
which was one of the first bands to play Latin
tunes in the USA, the vocalists included his
wife Patricia Gilmore. Luckily the band got a
contract to play at the Biltmore Hotel where
the Remote radio broadcasted their performances
spreading his fame. The band worked
all through the thirties and fourties and was a
well rehearsed orchestra who recorded with
labels such as, Columbia, RCA Victor,
Brunswick, Majestic, Decca and many more.
It was the days of the 78 RPM and he cut a
number of sides for Vogue Picture Records
who printed very attractive wallets to keep
the 10 inch discs made of vinyl with pictures
printed onto Vogue Records. He composed
other works such as, Forbidden Love, Minute
Samba, Take It Away and The Language of
Love. He co-wrote with Eddie Wood Adios,
in 1931, a slow foxtrot which became the
bands theme; the song was also a big hit for
Glenn Miller in 1941. The big band era came
to an end as everything does in life and in the
late fourties many bands disappeared and he
dissolved his own in the early fifties.
SIBONEY
ERNESTO LECUONA (1896-1963)
He was born in Guanabacoa, and his older
sister Ernestina taught him to play the piano.
He gave his first concert at the age of five
and composed music when he was eleven.
He concluded his studies at the National
Conservatory in Havana when he was 15 and
nowadays is Cuba’s best known and loved
performer and composer, widely known for
his songs and piano works. Lecuona was one
of the first crossover artists who wrote a
number of enduring songs, he was equally
successful at writing both popular and contemporary
classical music, his first major
work was Malagueña performed for the first
time at the Roxy Theatre in New York in
1927. He is most remembered by his Latin
group the Lecuona Cuban Boys. Furthermore,
Lecuona was named honorary
Cultural Attache by the Cuban Embassy in
Washington in 1943 in recognition of his
work.
His most famous songs are, The Breeze
and I, Dust on the Moon, Say Si Si, Jungle
Drums, Always in my Heart, La Comparsa,
María my Own and of course Siboney. The
song was written in 1929 and gained notoriety
when a Cuban singer Alfredo Brito got a
first hit in 1931 and was subsequently sung
by Caterina Valente, Xiomara Alfaro, Dizzy
Gillespie and Pierce Faith. The song was also
featured in the film All this and Glamour Too
(1938) produced by Warner Brothers. He
died in the Canary Islands whilst on holiday
attending a concert given in his honour and
is buried in the Gates of Heaven Cemetery
in Long Island.
PERFIDIA
FRENESI
ALBERTO DOMINGUEZ (1913-1975)
Alberto Dominguez, composer and arranger
was born in Chiapas, Mexico and wrote two
songs which became standards of Latin jazz:
Frenesí and Perfidia. He belonged to the so
called Swing Era, a period ranging from 1935
to 1945 where large dance orchestras played
jazz arangements and Latin tunes. Xavier
Cugat’s orchestra is the one who made this
tune a huge success. Solo singers such as Nat
King Cole also recorded Perfidia to attract
Latin American audiences.
STRING DUO Guitar and Cuatro
LA REINA Contradanza marabina
AMABLE TORRES (1860-1908)
He was born in Maracaibo, Venezuela where
he pursued his musical education enabling
him to become a composer and played the
bandurria, a Spanish instrument of the lute
type with 12 strings; this instrument was performed
by his family. He was not only a
musician but a carpenter too. He was the
leader of the string group Estudiantina
Venezolana in 1899 and later founded the
group Los Tres Bemoles directed by Joaquín
Baralt and formed by Pepe Villalobos,
Heraclio Fernández, Carlos López and
Pablo Bernal. His most famous piece is La
Reina, originally named Los aires del
Milagro, premiered in the Club del Comercio
with such great success that his best friend
Willy Larsen suggested he change the name
The South Bank Centre is a registered charity. In accordance with the entertainment licensing authority, the London Borough of Members of the public are reminded that no tape recorder or other type of recording apparatus may be brought into the auditorium. the concert, please make sure it is switched off. Are you wearing
