latin american and caribbean cultural … prog page 4.pdf · 22nd international guitar series...

22nd INTERNATIONAL GUITAR SERIESPresented in association with the

BRAZILIAN EMBASSY

CARLOS BARBOSA-LIMA, GuitarGUSTAVO COLINA, Cuatro

FRIDAY 9th SEPTEMBER 2005 at 7.30pmPURCELL ROOM, RFH, LONDON SE1 8XX

PROGRAMMEGUSTAVO COLINA, Cuatro solos

POLO VENEZOLANO*Improvisation, Venezuelan folklore

DESTELLO DE AMORARMANDO MOLERO (1889-1971)

SAN RAFAEL* Improvisation, Venezuelan folklore

CARLOS BARBOSA-LIMA, Guitar solosADIOS*

ENRIQUE MADRIGUERA (1904-1973)EDDIE WOOD

SIBONEY*ERNESTO LECUONA (1896-1963)

PERFIDIA*FRENESI*

ALBERTO DOMINGUEZ (1913-1975)

STRING DUO: GUITAR AND CUATROLA 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 VenezolanoANTONIO LAURO (1917-1986)

INTERVALGUSTAVO COLINA, Cuatro solos

LLUVIA SOBRE METALGUSTAVO COLINA (b. 1972)

CARNAVAL*Improvisation, Venezuelan folkloreDEL FLAMENCO AL JOROPO

TOMAS MONTILLA

STRING DUO: GUITAR AND CUATROGOLPE AL DIABLO DE CARORA

CANCION CAROREÑAMERENGUE CRIOLLO

RODRIGO RIERA (1923-1999)

EL NIÑO*EL MARABINO

SEIS POR DERECHOANTONIO LAURO (1917-1986)

CARLOS BARBOSA-LIMA, Guitar solosCOCHICHANDO*

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 MANAGEMENTKindly visit our Website at www.laccs.com

LATIN AMERICAN AND CARIBBEANCULTURAL SOCIETY

22 YEARS ON KNOW YOUR COMPOSERSTHE ORIGIN OF THE CUATRO

The historical background of the Cuatro reston the theory that it comes from Egypt andbefore that from the Assyrian culture.Furthermore, Adolf Salazar, string instru-ments Spanish analyst, confirmed the Cuatroarrived in Venezuela with the first Spanishconquerors and entered through the city ofCoro, the most developed city in the XVIcentury in Venezuela. This instrumentbelonged to the Renaissance period; it can bemade by hand using either cedar or pinewoods in the diapason and its playing involvestalent, dedication and experience. Its origin isllanero with four strings: fourth, second, firstand third, that is to say, La, Re, FA# and Si orSol, Do, Mi and La to ascend. When playingthe Cuatro, rhythm is a matter of ear and inconsequence is very difficult to make writtennorms for strumming on the instrument.

GUSTAVO COLINA Cuatro solosPOLO VENEZOLANO

Improvisation Venezuelan folkloreDESTELLO DE AMOR

ARMANDO MOLERO (1899-1971)

Molero was born in Maracaibo, Venezuelaand was known as “the singer of all times”.He was also a guitarist and a composer. Hededicated extensively to artistic activitieswith performances on the stage as well as onthe radio and he incorporated in his compo-sitions almost all genres of zuliana music. hisbest well known songs are Destello de Amor,El Cocotero and Trigueña Preciosa.

SAN RAFAELImprovisation from Venezuelan folklore

CARLOS BARBOSA LIMA Guitar solosADIOS

ENRIQUE MADRIGUERA (1904-1973)EDDIE WOOD

Enrique was born in Barcelona and was achild prodigy on violin, he gave concerts at avery early age. He wrote and arranged sweetdance music and later emigrated to SouthAmerica and in Colombia worked as a MusicDirector for Columbia Records. In the latethirties he went to New York and formed hisfirst band the Enric Madriguera Orchestrawhich was one of the first bands to play Latintunes in the USA, the vocalists included hiswife Patricia Gilmore. Luckily the band got acontract to play at the Biltmore Hotel wherethe Remote radio broadcasted their perform-ances spreading his fame. The band workedall through the thirties and fourties and was awell rehearsed orchestra who recorded withlabels such as, Columbia, RCA Victor,Brunswick, Majestic, Decca and many more.It was the days of the 78 RPM and he cut anumber of sides for Vogue Picture Recordswho printed very attractive wallets to keepthe 10 inch discs made of vinyl with picturesprinted onto Vogue Records. He composedother works such as, Forbidden Love, MinuteSamba, Take It Away and The Language ofLove. He co-wrote with Eddie Wood Adios,in 1931, a slow foxtrot which became thebands theme; the song was also a big hit forGlenn Miller in 1941. The big band era cameto an end as everything does in life and in thelate fourties many bands disappeared and hedissolved his own in the early fifties.

SIBONEYERNESTO LECUONA (1896-1963)

He was born in Guanabacoa, and his oldersister Ernestina taught him to play the piano.He gave his first concert at the age of fiveand composed music when he was eleven.He concluded his studies at the NationalConservatory in Havana when he was 15 andnowadays is Cuba’s best known and lovedperformer and composer, widely known forhis songs and piano works. Lecuona was oneof the first crossover artists who wrote anumber of enduring songs, he was equallysuccessful at writing both popular and con-temporary classical music, his first majorwork was Malagueña performed for the firsttime at the Roxy Theatre in New York in1927. He is most remembered by his Latingroup the Lecuona Cuban Boys. Further-more, Lecuona was named honoraryCultural Attache by the Cuban Embassy inWashington in 1943 in recognition of hiswork.

His most famous songs are, The Breezeand I, Dust on the Moon, Say Si Si, JungleDrums, Always in my Heart, La Comparsa,María my Own and of course Siboney. Thesong was written in 1929 and gained notori-ety when a Cuban singer Alfredo Brito got afirst hit in 1931 and was subsequently sungby Caterina Valente, Xiomara Alfaro, DizzyGillespie and Pierce Faith. The song was alsofeatured in the film All this and Glamour Too(1938) produced by Warner Brothers. Hedied in the Canary Islands whilst on holidayattending a concert given in his honour andis buried in the Gates of Heaven Cemeteryin Long Island.

PERFIDIAFRENESI

ALBERTO DOMINGUEZ (1913-1975)

Alberto Dominguez, composer and arrangerwas born in Chiapas, Mexico and wrote twosongs which became standards of Latin jazz:Frenesí and Perfidia. He belonged to the socalled Swing Era, a period ranging from 1935to 1945 where large dance orchestras playedjazz arangements and Latin tunes. XavierCugat’s orchestra is the one who made thistune a huge success. Solo singers such as NatKing Cole also recorded Perfidia to attractLatin American audiences.

STRING DUO Guitar and CuatroLA REINA Contradanza marabina

AMABLE TORRES (1860-1908)

He was born in Maracaibo, Venezuela wherehe pursued his musical education enablinghim to become a composer and played thebandurria, a Spanish instrument of the lutetype with 12 strings; this instrument was per-formed by his family. He was not only amusician but a carpenter too. He was theleader of the string group EstudiantinaVenezolana in 1899 and later founded thegroup Los Tres Bemoles directed by JoaquínBaralt and formed by Pepe Villalobos,Heraclio Fernández, Carlos López andPablo Bernal. His most famous piece is LaReina, originally named Los aires delMilagro, premiered in the Club del Comerciowith such great success that his best friendWilly 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 Lambeth: persons shall not be permitted to stand or sit in any of the gangways intersecting the seating or to sit in any of the other gangways. No smoking in the auditorium. The taking of photographs is strictly prohib-ited. Members of the public are reminded that no tape recorder or other type of recording apparatus may be brought into the auditorium. It is illegal to record any performance, or part thereof, unless prior arrangements have been made with SBC management and the concert promoter concerned. If you do not need to use your hearing aid during

the concert, please make sure it is switched off. Are you wearing a digital watch? Make sure the alarm is off. Would patrons with mobile telephones ensure that they are switched off before the performance commences.