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Ayeestir ata Doce Piezas para Cua revisadas y digitadas por César Amaro Z Gio ) (1885-1944 Doce Piezas para Guitarra revisadasy digitadas por César Amaro Contents Notes on the Music 2 Las Abejas (1921) 10 Cancion maternal (Habanera) (1924) 12 La Catedral (Distico sacro) (1921) 14 Grana de arena (1925) 20 Romance de la india muerta (1927) 22 Leyenda guarant (1912) 24 Luisito (Minuetto) (1925) 32 Madrecital... (Minuetto) (1925) 33 Vals de primavera (1921) 34 Vidalita con variaciones (1925) 38 Rancho quemada (Estilo) (1925) al Souvenir d’un réve (1919) 4a TPS-061 Notes on THE Music Levenpa cuarant renda guarani ¢s un obra en cinco movimientos compues- Ha entre 1912 9 1913, que estaba en su momento considerada come una de las principales composiciones de Barrios, al extrema que se lo identificaba como “el autor de fa Leyenda Guarani.” Una crémica de la época dice: “Su Leyenda Guarani, que es todo el poema doloroso, trdgico y sentimental de la patria de Barrios, en una obra que por si sola constituiria para el autor un patri- monio imperecedero.” Chinita Borda, bija de don Martin Borda y Pagola, con- taba que su padre babia pedido repetidamente a Barrios que es- cribiese esta obra, sin éxito seguramente por la extensién de la misma. En ocasién de un asada en la Cucva de la Tigra, paraje présimo a Cerro de las Cuentas (Departamento de Cerro Large, Uruguay) donde estaba radicada la familia Borda, don Martin adeje a Barrios encerrado bajo lave en su casa con el cometida de escribir su obra, acordando que vendria a buscarls cuando el asado estuviese pronto pero asegurando no dejarlo salir si el trabajo no estaba finalizado. Cuando lego Borda, Barrios habia terminade su tarea y, pletorico de agradecimiento, exclam: “i no hubiera sido por ti, hermanito, esta obra jse babria perdido!” Borda y Barrios se fueron entonces al almuerzo, lewando la partitura recién escrita para mostrar a sus amigos. Pero ef manuscrite de Barries queds en la Cueva de la Tigra, y se perdis durante unas intensas lluvias gue ocurrieron afios después. Don Martin Borda, sabiendo de la pérdida irrecuperable del origi- nal, la tocaba de memoria y la recordé durante afts basta que en el ato 1943 él y Escobar, un guitarrista paraguayo amigo de ambos, la escribieron, eyenda guarant is a five-movement work composed between igt2 and 1913, At the time, it was considered to be one of Barrios’ foremost compositions, to the extent that he was often identified as “the author of the Leyenda guarani.” An asticle of the time said, “His Leyenda guarané is utterly the sad, tragic, and sentimental poem of Barrios’ native land, all in a work that by itself could constitute the composer's immortal legacy.” Chinita Borda, the daughter of Don Martin Borda y Pagola, related that her father repeatedly repeatedly re- ‘quested without success that Barrios write out this work, During a feast in the Cueva de la Tigra, a place near the Cerro de ta Cuentas (Department of Cerro Largo, Uru- guay) where the Borda family had its roots, Don Martin left Barrios locked up in his house, insisting that he write out his work, He agreed that he would come looking for Barrios when the meal was ready, but assured him that he would not be allowed to leave if the work was not com- pleted, When Borda arrived, Barrios had finished his task and, filled with graditude, he exclaimed, “If it weren't for you, litele brother, this work would have been lost.” Borda and Barrios then proceeded to the dinner, car- tying the newly written score to show to their friends, But Barrios’ manuscript remained in the Cueva de la Tigra, and ‘was lost during a series of intense storms that occurred some years later. Don Martin Borda, aware of the irrecoverable loss of the original, played it and keptit in his memory for years until 1943, when he and Escobar, a Paraguayan ist who was a friend to both of them, transcribed it Souvente D'UN REVE (Un SuENo EN LA Floresta) Este trémolo fue compuesto hacia 1918, seguramente du- rante Ia primera estadia de Barrias en Brasil, y fue estrenado en Uruguay el 6 de julio de 1920, en el Institute Verdi Posiblemente sea el primero de les cuatro trémolos que com~ ‘puss y fue sin dudas ef gue mis gjteuto en priblica a lo largo de su vida. Sin embargo, con el correr del tiempo, esta obra aparece en sus programas de concierto con diferentes designaciones (En- sueiio en la selva, por ejemplo) basta adoptar definitivamente el nombre de Un sueiio en la floresta, con que la recanocen y fa shan grabado muchos guitarrista. Es nuestra teoria que el cambio de nombre, que coincide con a adopciin de la identidad de “Cacique Nitsuga Mangoré” con que promocionaba sus actuaciones para incrementar sus ingress, no obedece a otra causa gue la la contradiccién que significa que un artista presumiblemente indigena ejecutara una obra de su aurovia ;titulada en francés! “This tremolo piece was composed around 1918, certain- ly during Barrios first sojourn in Brazil, and was premiered in Uruguay on July 6, 1920, at the Instituto Verdi. Te was poscibly the first of the four tremolo pieces Bar- rios composed, and it was undoubtedly the one most often performed in his lifetime, Nevertheless, over time this work appeared in his concert programs with different titles (En- suerio en Ia selva, for example), until definitively adopting the title of Un Serio de la loreita, by which it is known and. has been recorded by many guitarists, tis our theory that the name change, which coincid- ed with Barrios'adoption of the identity of Chief Nitsuga Mangoré—under which he promoted his engagements to justify an augmentation of his fees—had no other cause than the contradiction arising from a presumably indig- enous artist performing a work of his own creation with a French title! TPS—061 Las Apeyas Exta obra fue compuesta en Uruguay, hacia 192. Si bien el primer manuscrito esta fechado en la primavera de 1921, no 2s claro que haya sido compuesta durante la enfermedad que padecto Barrios ese ano y que lo mantuvo alejado de las salas de concierto Le versién de la coleccién Borda y Pagola (rg2t) y la dedi- cada a Rémulo Bonilla (1924) tienen diferencias tanto en el compas y la figuracién como en ol aire; en 1921 esté escrita como Allegro brillante en tresillos de corcheas y compds de cuatro cu- artes, mientras que en la version de 1924 indica Allegro mod- erato para tresillos de semicorcheas en compas de dos cuartos. La version de 1924 comienza sin el ‘ad libitun" caractertstico, tiene algunos pequeris cambias, yel final es completamente diferente. La wersién que se presenta aqui es una compaginacién de las dos a) Original 1924 Allegro moderato oi ‘This work was composed around 1ga1 in Uruguay. Al- though the first manuscript is dated in the spring of 1921, it is not clear if it was composed during the time that year when Barrios was suffering from an illness that kept him from the concert halls. “Ihe version in the Borda y Pagola Collection (1921) and the one dedicated to Rémulo Bonilla (1924) differ from each other in tempo, time signature, and notation. In 1921 it was notated as Allegro brillante in eighth-note triplets in 4/4 time, while the x924 version indicates Allegro moderato with sixteenth-note triplets in 2/4 time. The 1924 version begins without the characteristic ad libitum, has some small changes, and the ending is completely different. “The version presented here is an amalgam of the two. a) Original 1921 Ad libitum Go ) Original version 1924 Cu selec Allegro brillante 2 if pee gt OG (ee) a7 ) Original versién 1924 & Seas e ‘TPS-061 Las Apeyas, continued ¢) Original version 1924 ©) Original version 1921 cr ©) Original version 1924 = pin gt Ses fs aS bad La Careprat Fue compuesta con el subtitulo de Distico sacro—Andante religiaso y Allegro solemne—en el otorto de 1921, y fue estrenada el 17 de abril de 1922, en el Teatro Solis. Barrias tuvo, en ese Periods, problemas de salud importante que lo mantuvieran muchos dias recluido en su habitacién del Hotel ABC. Desde alli cscuchaba perfectamente las campanas de la Catedral Metro politana de Montivideo—gue suenan cada 30 minutos—, que fueron la musa inspiradora de esta obra En exe otonio Barrios compuso cinco obras, pero no consid eraba aa Catedral sino en segundo lugar entre ellas (para éla ‘mds valiosa era el Vals de primavera, hoy muy poco conacido y gjecutado). Sin embargo, el propio compositor hacia 1939 ineluia ain La Catedral en sus programas de concierto habiendo ya dejado de tocar muchas de sus propias obras, Es en ese arto que 4c incorpora el Preludio (Saudade), hoy conocido como primer movimiento de la obra, que habia compuesto y tocado en conci- ertos como una pieza independiente, En el mes de vctubre de 1921, estando Barriss en Buenos Ai- 165 con motivo de grabar para la casa Max Gliicksmann, cono~ it a Andrés Segovia. Luego de visitarla en su domicilio, scribe Barrios en una carta a Borda y Pagola: “Mostré particular pre~ Ailecion por La Catedral y me dijo que se la diese para tocarla en conciertos.” La Catedral was composed with the subtitle Disvico sa~ ero—Andante religioso y Allegro solemne—in the autumn of 1924, and was premiered on April 17, 1921, in the Teatro Solis. During this time, Barrios suffered from serious health problems that kept him confined for many days in his room n the Hotel ABC. From there, he could clearly hear the bells of the Metropolitan Cathedral of Montevideo which rang every thirty minutes. Those bells were the inspirational muse for this work In that autumn, Barrios composed five works, although he considered La Catedral no more than in second place among them. For him, the most important was the Vals de primavera, which is today much less known and played. Nevertheless, as of 1939 the composer was still including La Catedral is. his concert programs, even though he had stopped performing many of his own works by that time. Tc was in that year that he incorporated the Prefudio (Sau- dade), now known as the first movement of the work, which Barrios had [previously] composed and performed in con- certs as an independent piece. In October, ro2r, while Barrios was staying in Bue- nos Aires to record for the firm of Max Gliicksmann, he met Andrés Segovia. Barrios visited him in his house, after which he wrote in a letter to Borda y Pagola: “He demon- strated particular interest in La Catedral and asked me to give it to him to play in concerts.” "TPS_n41 Como era babitual, Barrios no llevaba copia escrita de sus obras, y en esa carta fechada el 15 de octubre de 1021 pedia a Borda enviase a Buenos Aires esta partitura para entregdrsela al guitarrista espariol, quien embarcaba con rumbo a su pats el2 de noviembre, Es fcil ver que, a los plazos de la época, la par- titura nia llegé a tiempo. Segovia lo consideré un grueso desaire, a causa del cual prodigo a Barrios su total antipatia por el resto desus dias. La Catedral, Andante religioso: 5 ‘As usual, Barrios didn't have a written copy of his works, and in this letter, dated October ,1921,he requested that Borda send the score to him in Buenos Aires, in order to give it to the Spanish guitarist who was departing for his, country on November 2. It is easy to see how, considering the limitations of the post in that epoch, the score would arrive too late. Segovia considered this a major slight, and because of this he held a total aversion for Barrios for the rest of his life. 1) Original 1924 (modificado en 1924) bac 4 ES, z 2) Original 1921 (modificado en 1924) @ = a te Rt La Catedral, Allegro solemne: 1) Original 1921 (modificado en. 1924) Crs 2) Original 1921 te TPS-061 La Careprat, continued 3) Original 1921 (modificado en 1924) ere 4) Original 1921 Or Cece hee a VALS DE PRIMAVERA EIVals de primavera fue compuesto por Barrios en el otorio de 1921 en Montevideo-Uruguay, junto con otras cuatro piexas centre las que se cuenta La Catedral. Fue estrenado el sdbado 16 de abril en el teatro Solis de Montevideo. Estas obras corresponden a un periodo en el cual ef autor abit sufrido trastornos de salud mis @ menos importantes, que abia sobrellevado desde su habitacién del Hotel ABC, en las calles Sarandi y Alzdibar, a pacas cuadras de la Catedval Met ropolitana de Montevideo. En un reportaje publicado en la prensa montevideana de la épria con motivo de dos conciertes que, una vex repuesto, real- zara Barrios en el teatro Sols, el compositor comentaba: "Tanto como mi precaria salud lo ha permitido he padida componer cinco obras para estos rectales. Considera la mds importante, después del ‘Vals de Primavera,’ de corte romantico, ‘La Catedral,’ que consta de des movinientas, un ‘andante religiaso’y un ‘allegro solemne’...” Canci6n Entre las obras de Barrios que integran ta Coleccisn de Borda y Pagola se encuentra el original de esta habanera que zt titulada Cancién maternal. En todas las ediciones conocidas figura con ef nombre de Cancién de Cuna, guizds a causa de una traduccion al inglés 1 luego de ouelta al espariol. De todas maneras, las versiones editadas tienen diferencias importantes con la habanera de la Colecién Borda y Pagola El autégrafo esta fechado el 31 de enero del avio 1924 en Cerro de la Cuentas Uruguay, lugar donde residia Borda y Pagola con su esposa y dos hijas. Entonces, Chinita, la menor de Jas nitas, tenia unos 7 avios de edad, por lo que ex posible que ete inspirada en alguna tonada que la madre cantaba a sus bias, Barrios composed the Vals de primavera in the autun of 1921 in Montevideo, Uruguay, together with four oth pieces among which was La Catedral. It was premiered Saturday, April 16, in the Teatro Solis of Montevideo. ‘These works date to the time when the composer 8 fered from somewhat serious health problems that co fined him to his room in the Hotel ABC, at the intersect of the streets Sarandf and Alzdibar, a few blocks from t Metropolitan Cathedral of Montevideo. In an article published in the Montevideo press of time, on the subject of two concerts that, having been « scheduled, Barrios played in the Teatro Solis, the compo: commented: “To the extent that my precarious health pe mitted, I was able to compose five works for these recita The one I consider the most important, after the Vals Primavera which is neo-Romantic in style, is La Catedr which consists of two movements, an ‘andante religioso' a an ‘allegro solemne’...” MATERNAL. Among the works of Barrios which comprise the Bor y Pagola Collection one finds the original of this habane entitled Cancién Maternal. In all of the published editions, this piece bears t title Cancion de Cuna, perhaps because of a translation in English and then back into Spanish. In all respects, the e ited versions have important differences from the habane in the Borda y Pagola Collection. “The autograph is dated January 31 of the year 1924 Cerro de la Cuentas, Uruguay, the place where Borda Pagola resided with his wife and two daughters. At th time, Chinita, the younger of the girls, was seven years 0 so it is possible that it was inspired by a melody that 1 mother sang to her daughters. TPS-061 GRANO DE ARENA Esta obra ha sido reconstruida a partir de un manuscrito de don Miguel Herrera Klinger, amigo de Agustin Barrios, que en sus escritos ha rescatado muchos detalles acerca del primer pericdo de la vida de Barrios en Uruguay, y tambien obras cuyos ‘manuscritos se perdieron, como el tango Don Pérez Freire. Muy probablemente esta piexa haya sido compuesta entre 19129 1983 This work was reconstructed from a manuscript of Don Miguel Herrera Klinger, a friend of Agustin Barrios. Many details surrounding the first period of Barrios life in Unuguay are preserved in his writings, as well as works the manuscripts of which are lost, such as the tango Don Pérez Freire, Itis likely that this piece was composed between 1912 and 1933 RoMANce DE LA INDIA MUERTA Fue compuesta en Rocha, Uruguay, en enero de 1927, donde ademds Barrios se presente en concierto los dias 27 y 28 en ef Teatro "2s de Mayo” de esa ciudad. El romance lleva el nombre del paraje donde vivia don Laurindo Amaral, de cuya estancia Barrios era asidue visitante. A su vex, el nombre de este paraje “India Muerte” surge de una leyenda regional, segsin la que esta india era la mensajera del G' Fructuoso Rivera, quien tenia su escritorio en la zona oculto en el corazén de un ombid. La india fue atacada y asesinada en cumplimiento de su misin por sos opositores de Rivera, en la época de Ia primera guerra civil del Uruguay independiente hacia mediados del siglo XIX (la "Guerra Grande’) La obra esta dedicada a Tonito Amatti Amaral, sobrino de don Laurindo, El joven, de unos 17 aos de edad, iba al vecino campo del te a tomar clases de guitarra con él, En una oportun= iddad legé Barrios a la estancia y, al escuchar al jowen ejecutante, To bomenajeé con esta composicion ‘This piece was composed in January of 1927 in Rocha, Uruguay, in which city Barrios performed in concert on the a7th and 28th in the Teatro “25 de Mayo.” The romance was named for the ranch of Don Laurindo Amacal, where Bar- sios was often a guest. The name of this place, the “Dead Indian Woman, arose from a local legend about a woman who was the messenger of Gen, Fructuoso Rivera, who had his study in a hidden place within the heart of an enormous evergreen tree known as the embti, The Indian woman was attacked and murdered by the enemies of Rivera while car- tying out her mission during the first civil war of indepen- dent Uruguay—the “Great War"—around the middle of the nineteenth century. ‘The work was dedicated to Don Laurindo's nephew, Tonito Amati Amaral. The seventeen-yeat-old youth, who lived in a neighboring town, would visit his uncle to study guitar with him, On one occasion Barrios was also visiting and, upon hearing the youth play, paid homage to him this composition, Lutsrro (Mixverto) Este pequeno minué en do menor fue compuesto en Salto on ig2s, y estd dedicado a don Luis Pasquet (padre). Barrios acababa de regresar de sus pats natal y a su regreso se radicé durante algo mds de un afio en la ciudad de Salto en casa de Pas~ quet, ‘comerciante de esta plaza y por mas datos buen aficionado «ala guitarra, y mds que todo, espiritu de los grandes, generosas y nobles”, en el decir del propio Barrios en una carta de esta época dirigida a don Martin Borda y Pagola. La anéidota cuenta que Pasguet estaba estudiando un sminué de Sor y comenté a Barrios lo dificil de la tonalidad de do menor para la guitarra, a lo que éste replicé: “verds gue no es ast"; y se lo demostré improvisando en pocos minutos esta ber~ smosa pieza. This little minuet in c minor was composed in Salto in 1925, and was dedicated to Don Luis Pasquet (senior). Barrios had just returned to his native country and sertled for the better part of a year in the city of Salto in the house of Pasquet, “merchant in this town and reputed to be a true devotee of the guitar, and above all, a great, generous, and noble soul,” in the words of Barrios in a letter from this time period that he wrote to Don Martin Borda y Pagola. ‘The anecdote told is that Pasquet was studying a min- uet by Sor and he commented to Barrios that about the difficulty of the key of ¢ minor on the guitar, to which Bar- ios replied. “You will see that such is not the case,” and he demonstrated this by improvising, in a few minutes, this lovely piece. TPS-061 Rancno quemano Un pequeto estilo~forma musical tradicional propia del _folkdore rioplatense y en particular del folklore uruguayo—com- “puesto también durante la estadia de Barrios en casa de Luis Pasquet, en Salto. Esta dedicado a Renato Llantada, quien en esos das habia perdido su casa en un incendio, aunque no fue posible reconstruir Ja anéedota con mayor precision. ‘This little estilo—a traditional musical form from the folklore of the Rio de la Plata, particularly Uruguay—was also composed during Barrios’ sojourn in the house of Luis Pasquet in Salto. ‘Although it was not possible to reconstruct the story with precision, it is known that this work was dedicated to Renato Llantada, who had recently lost his home in a fire. ‘VIDALITA CON VARIACIONES La vidalita es quiads la forma musical folklérica mds au téntica y propiamente uruguaya, ya que si bien la milonga ha tenido una difusin considerablemente mayor es una forma mas bilateral del Rio de la Plata, Sobre un tema auténtico y puro de vidalita, Barrios con- struye una “vidalita de concierto” a través de la incorporacién de variaciones netamente guitarristicas que conservan la clara cesencia del tema original. Esta obra fue compuesta en 1925, durante el periods en el (que Barrios estuvo radicado en casa de don Luis Pasquet. ‘The vidalita is perhaps the most authentic and truly Uruguayan folkloric musical form, inasmuch as the milonga has had such a wide distribution that it is found on both banks of the Rio de la Plata. Over an authentic and pure vidalita melody, Barrios has constructed a “concert vidalita” through the incorpo- ration of genuinely guitarristic variations that preserve the clear essence of the original theme. This work was composed in 1925, during the period in which Barrios lived in the home of Don Luis Pasquet. Maprecrra' ... (Minuero) Este minué, compuesto en 192s durante el periodo en que Agustin Barrios estuvo radicado en Salto, esté dedicado a Luis Pasquet (hijo), con la siguiente inscripcién: ‘Al hermoso botija y futuro gran mitsico Luisito Pasquet’, Vaya premonicién! ;Luis Pasquet (hijo) ha estado durante muchos atios a cargo de la di- reccién de la orquestra de Finlandia! Eljovencite habia perdido recientemente a su madre. Bar- vias le dedica esta pieza comprendiendo el dolor y recogimiento del nifio que no verd més a su madre, desde la perspectiva de quien, durante toda su vida y més alld de las distancias, tributé un carifo y veneracién permanentes a su propia madre This minuet, composed in 1925 during the period in which Barrios lived in Salto, was dedicated to Luis Pasquet (junior), with the following inscription: “To the handsome boy and future great musician Luisito Pasquet.” What a premonition! Luis Pasquet (junior) would be the director of the Orchestra of Finland for many years! The young boy had recently lost his mother, As one ‘who, throughout his life and distant travels, offered a tribute of love and veneration to his own mother, Barrios dedicated this piece to him, comprehending the sorrow and loneliness ofa boy who would never again see his mother. TPS-061 Fuentes pe Inrormact6n/ Sources oF INFORMATION Los manuscritos de Luisito, Rancho Quemado, Vidalita con variaciones y Madrecita! ... y /a segunda versién de La Catedral pertenccen a la coleccién del Profesor Ramon Gé- mez Crux, discipulo y amigo personal de Luis Pasquet (padre). Quien nos ba tambien reconstruido el escenario y las anéedotas (que las rodearon. Los manuscritos de Souvenir d'un réve, La Abejas (ver- sién de 1921), La Catedral, Vals de primavera, Cancién ma- ternal y Leyenda guarani pertenecen a la Coleccion Borda y Pagola, que fue estudiada con la autorizacién de Aida Borda Sasa (Chinita), hija de don Martin Borda y Pagola, a quien se debe la mayor parte de la informacién anecdética recopilada. Los cincos primeras manuscrites son de punto y letra de Agustin Barrios, en tanto el de la Leyenda guarani es caligrafia de don Martin Borda y de Escobar. El manuscrito de Las Abejas (version de 1924) pertenece ala coleccin de César Amaro, y le fue obseqitiado de su coleccidn personal por don Oscar Serafins. El manuscrito de Grano de arena pertenece a la coleccién de César Amaro, le fue obsequiado de su coleccién por el Profe- sor José Lopex Blanco, y es caligrafta de don Miguel Herrera Klinger El manuscrite de Romance de la india muerta pertenece a la coleccitm de César Amaro y le fue obsequiado por José Marcos Barrios en ta ciudad de Treinta y Tres (Uruguay). Para la preparacién de los comentarios se ha tomado como referencia el libro Agustin Bartios: Patrimonio de América (2a edicién) de Elizabeth Gonzilez de Amaro —César Amaro ‘The manuscripts of Luisito, Rancho Quemado, Vidalita con Variaciones and Madrecita! ... and the second version of La Catedral are from the collection of Profesor Ramén Gomez Cruz, disciple and personal friend of Luis Pasquet (senior), who has also reconstructed the background and the anecdotes that surround them, ‘The manuscripts of Sowsenir d'un réve, La Abejas (1921 version), La Catedral, Vals de primavera, Cancién maternal and Leyenda guarantare from the Borda y Pagola Collection, which was examined with the authorization of Aida Borda Sosa (Chinita), daughter of Don Martin Borda y Pagola, to whom is owed the majority of the anecdotal information ‘compiled here. The first five manuscripts are from the hand and words Agustin Barrios, and the Leyenda guarant is in the hands of Don Martin Borda and of Escobar. “The manuscript of Las Abgjas (1924 version) is from the collection of César Amaro, and was obtained from the per- sonal collection of Don Oscar Serafino. “The manuscript of Grano de arena is from the collec tion of César Amaro, and was obained from the collection of Professor José Lépez Blanco, and is in the hand of Don Miguel Herrera Klinger. “The manuscript of Romance de la india muerta is from the collection of César Amaro, and was obained from José Marcos Barrios in the city of Treinta y Tres, Uruguay. For the preparation of the the commentaries, I have used as a reference the book Agustin Barrios: Patrimonio de América (2nd edition) by Elizabeth Gonzilez de Amaro. —English translation by Edward Lugo N. B. The music in this publication is drawn from private sources and collections and is published here, in its present form, for the first time. It contains new and original mate~ rial and is protected by international copyright. TPS-061 Las Abejas Estu Resisiin César Amaro Agustin Bacrios Montevideo, primavera de 1921 Allegro brillante tht 0s se Copyright ©2008 by Richard M, Long, International copyright secured. All ights reserved, ‘Unauthorized copying isan infringement ofthe lav. Printed in U.S.A. TPS~061 Cancién maternal Habanera Revision y digitacion César Amaro. Agustin Barrios Cerro de la Cuentas, 31 de enero de 1924 evm——— en sol @enre oe 7 — 4 ber #3 7G tp : ipa ; : cm — ¢m— cv—] , ad oot 2 = ipl =u Hee = re 2 — | a ind + wets en emi poco ral. 22 : a “apa ert oS = a ee arm F express? Zit ah espress. cv ————_ cvin i 2” 2 Aa i it actel 7 pete a fe rte po PT mom Of Copyright ©2008 by Richard M. Long. International copyright secured. All nights reserved, ‘Unauthorized copying isan infringement ofthe law, Printed in U.S.A. TPS-061 13 1 as 2. eu Cage xn rorire ov—— evin—, F FOELTE 36 arm. FE arm. arm. FR) arm. arm vit a3 Vit Set give g “xi “Vat @ = a “ “ALI TPS—061 La Catedral evs y digaion Distico sacro i Lirieay ee Agustin Barios Montevideo, otofio de 1921 1. Andante religioso espressivo all, St : molto rall. Copyright ©2008 by Richard M. Long, International copyright secured Al sights reserved Unauthorized eopying isan infringement of the law. Printed in U.S.A. TPS-061 15 2, Allegro solemne Cur ane 43 a SF epetete of e) ao mi mimiai mi Domi mimiaimi eeu at 7 = p mi aip TPS-061 4210 fe 001? im imim pimapi pima pi TPS~061 TPS-061 19 Fe 100 Grano de arena Revision y digitacion ‘| César Amaro Agustin Barrios Moderato Spgs rt TI Te Ty gas SETS et rt or > i Copyright ©2008 by Richard M. Long, Intemational copyright secured, All rights reserved. ‘Unauthorized copying is an iningement ofthe lw Printed ia USA, ‘TPS-061 2 crm cum tug as Bitz tis fe, 50 ee) ae cvm——— D.C. al Fine a Tonite Amati Amaral Romance de la India Muerta Revision y digitacién Estilo Agustin Barrios César Amaro Rocha, Uruguay, enero de 1997 Allegretto 1 3 molto espressivo i ‘Copyright ©2008 by Richard M. Long. Intemational copyright secure, All rights reserved, ‘Unauthorized copying isan infringement of the lw. Printed in USA. ‘TPS-061 23 2) poco rall. ‘TPS061 Leyenda Guarani Revisidn y digitacisn Agustin Barrios César Amaro Cerro de las Cuentas, 1912 1, Introduccién em = ¢m——— eters pizz. (Copyrigh: ©2008 by Richard M. Long. International copyright secured. All rights reserved ‘Unauthorized copying isan infringement ofthe law. Printed in U.S.A, ‘TPS-061 25 2. Andante cm— TPS061 . a \ cu 4 yang Cv cv 1 4 | 3. Adagio Lento e cantabile ® ‘TPS-061 attacea Allegro ‘TPS-061 Compuesto en la casa de mi caro amiga Luis Pasguet, a quien dedico con muy hondo afecto Revision y digitacion Luisito Agustin Barrios César Amaro Salto, Uruguay, 1925 Tempo de minuetto geet tcm a ma D.C. al Fine Copyright ©2008 by Richard M. Long, International copyright secured. All rights reserve, ‘Unauthorized copying isa infringement ofthe lav: Printed in U.S.A, TPS-061 Al hermoso botija y futuro gran miisico Luisito Pasquet (b) caritosamente Agustin Barrios Revision y digitacién Madrecita! -- César Amaro Minuetto Salto, Uruguay, 1925 Tempo de minut i 4 vo 3 j 5c He ep = fe Feat OSS 5 Ate oe a a semplice 3 1 Fine Nige> ° s 2 cv cv cm cvn 1 4 24 - t (Copyright ©2008 by Richard M. Long. International copyright secured, Al rights reserved. ‘Unauthorized eapying is an infringement ofthe law. Printed in US.A, TPS—061 Vals de Primavera Revisién y digitacién César Amaro Agustin Barrios Montevideo, otofo de 1921 cn ooo Ge eee * a a Bimipm Fh mi (Copyright ©2008 by Richard M. Long Internationa copyright secured, All rights reserved. Unauthorized copying is an inftingemenc ofthe law, Printed in USA. ‘TPS-061 evs 2 2 2 © eo pa 4 Pls. mem ® Ee 18 rll 412 parte y sigue 36 Poco pit: mosso ‘TPS-061 TPS-061 a Luis Pasquet Vidalita con variaciones Revision y digitacin César Amaro Agustin Barrio Salto, Uruguay, 192: Lento, tempo de vidalita , Hearse 1 bom F @-D (Copyright ©2008 by Richard M. Long, Intemational copyright secured. All rights reserved. ‘Unauthorized copying isan infringement of the law. Printed in U.S.A. ‘TPS-061 evn ev—em TPS-061 oe i 7 i od ob , ; pant gaa gsm dey a ele: TEP Let er a Renato Llantada Rancho quemado Estilo Revisién y digitacién Agustin Barrios César Amaro Salto, Uruguay, 1925 Allegretto Copyright ©2008 by Richare M. Long. Tncernational copyright secured, All rights reserved, Unauthorized copying isan infringement of the Lave. Printed in U.S.A. Agustin Barrios, 1922 TPS-061 Souvenir d’un réve (Un suefio en la floresta) Agustin Basin Revision y digitacin César Amaro Bras, 1919 Largo 2| 4 etd 4 yee a a : 7 poco pitt mosso + eel 3 i P Rerbeccdeerberelinrrher al F Fomipamiy 7 ‘Copyright ©2008 by Richard M. Long. International copyright secured, All rights reserved ‘Unacthorized copying is an inftingement ofthe law. Printed in USA. ‘TPS-061 43 Ee se os fn seas —— [a in ik aE SE = Se — jssezzant | e Pr 2 a = 7 + —t* = SS — z 7 i 3 Qnnnneeebeeeeeecte cee e eee oe eee jee eee eee ae ae ee SL Te i ‘TPS-061 . (PERIZEF AREER EE cw o 7 > so @ @ 4 6 jf Sass AR SSS erty | TPS-061 evi 6 eod[dee [Toe Jode [edd Jon 4] 2 = ia PEP EEE BERT ee a oe 9 pR BREE ARAmET i: 1 anne yy dO A pee i, oe eae EF ——— f zoe es eee Pr ei 5 r ® cx. ces ee — oe Cyne é 2e [aa (ead Za Eons BEE 163 oe ese Bae fe ane Pr z = —— Se ‘TPS-061 TPS—061 IG eae gy jest te Se Te 7 ine SES c i cvn— 3 S "yy TESS [fee eee 9 + Se Pope imam ———s Pe fm AES ee Pr hemi eoeees =e SSS SS ‘TPS-061 Bs Zee i i i & 2 ee AE 1 MERE E ET mil BEER 255 aaa foe [eed (eae Wi BEBE ES EPEaS 2 Music FOR SOLO GUITAR Anmnracr, Oscat ‘Auwensz, Tsane BacuhS Beaovats, William Biancitano, Hanoto (Caneasss, Marzeo Canvias, Fano. (Casstus, Feanes Casrmuiacer, Lior Chance, Hut Chanosa, Dow. Conaiut, Ancawento eanzs, Jou W. Giawonesits, Bean Grotaant, Mavro Govnon, Cnantes Gaananos, Exngee Hast, GF Havow, BJ. Honeraxs, Pets Kaverman, Jay Kanvon, Srrewen Kine, Jour Manris, Bovanoo Maui, Prevao Paoto Menus, Jose Luss Monusn a Auvanez Mopanna, Ao Ounmauzounoy, A Biot en Day (Day By Day) (Eisen) Favorite Pieces (Cale, Cordoba, Leyenda, Rumares de 1a Cale, Seis (P- Romero) Malone: Barcatola, Op. 202 (Swicser/. Remers) Partita No. 2in d minor, BWY 1008 (P, Romero} SatteNo.3inD myjor, BWV 1009(B. Romero} Ene Lye Pieces, Innocent Meandering (Robinson) | ‘Als a Suse: Tyroliene de Grguite varie, Op 5 (Long) Varicions sr Fas “AM yous diatje Maman” ["Twioke, | Twinkle Lile Stat], Op €0, No.3 (Danner) Inzodaction et thane vat fon 2 Theme feom Mozaré’s “The Mi Fat], Op. 276, No. 30 (Danner) 1a irae Pari: Divertineene Aco fans (Op. 306 (Long) Complete Woska, Vel 1: Musi for Solo Gitar (Rib) Varcions ona Theme of Panels “Nel or pi no Np. 35 Log) Fantaisie suru time vem [A Schinrand a Re ‘Op. 65 (Lang) False srla romance favorite ela Cesena: “Non mes de Rosi, Op. 99 (Long) Grands Fase surla marche favorite de Mei. de Routns Og 100 Long) “Two Peelades (Holzman) “Thnee Sonatas (Nos. 15,4553) (Zahn) Allegro, fom Viokin Sonata 5, No.3 (Long) Binds, Op 66 (Gon) Three Dances (Vale Hyrigue, Op. 197; Vaie en Tondeut, Op. 128; Dana ccencies, Op. 138) Variavons ona Kalan Fle Song Op 139 (Marchione) Tree Studie, Op. 10 (De Innocent) \ Pogue suite renezalana, Op. “Tanteiats& Berganesca (Klicken) ' Sicvaiaons ura chanson national Thine Kebbssem | Bub" Op. 49 (Long) \Vaiaionl alla eavtina fore “Det Cada chit Rosi, Op. 103 (Long) Iniredusione vatiacion sopra a cvatina favorita ‘Name prdonamt "ne! Bac Roma, Op 102 (Long) “Yee Taancllee Bll naiona npoleani (King) Fuse Waltss (MY. Ferter/King) La Mle de Goya: Tonadis (Romer) (Is Preparat Sie fora Museal Clock (Zoho) SonstainG, Hob. KVEB (Zohn) Grandes vrtations, Op. 16 (Long) Jusy Fou Shute Spooky Blue “Threnady Varivons on s Mongsin Falk Song Mauinbuty Ring &¢ Dancing Ledge Scortsh Suite Chicos Cancion Andaluza ' Er Fandango Resado Soledad | Suite or Gaitae afer Salvador Dab) Ineeoduecion y Danza Dos Piesat: Ade pus & Son de barrio Caprieio det “il Gran Menace” (Long) ‘Dos Aires Parepeance Cedral de los ajax Sucho con Cabalos Swit del Recwerdo “ancanakuy Site tgenting anes X (Pacer) Frammea | Beeewoves, Prrrouerni Puera0 Prcentaners, Lewot Route, Cetxponto Rosie. Sacre Leics Sura, Gasoan Seanta Settee Suretos, Jossns Son, Fernanno | Seva, nonce Tanned, Faancisco | Vanier, Nicoras Vevatos, Awrone Warner, Paani Weiss, SL. Wes, Rex 1, Dow. LRA, Fanci sur une melodie russe, Op: 32(Loxp) “Two Arn of Rossin: Preghiera "Dal set Cavatng “Come doe ase mi” (Long) “Tango Angelis (P. Romero) LaDanea Tatacelcapoliana (Aton) Varitons brilaness sun théme allemand [4 Shs tnd Reid), Op. 11 (Long) ‘Variations bilantes so un aed Rossi Op 12 (L Danaas espatolas (2. Romero) Sonata in 3.198, 1.93 (Long) Scenes rota Childhood, Op. 15 (Aron) Four Crucial Moments Fantaisie. dt axon déve Mlle How (P. Re Tnstoductionevaiatons elt su “Ta el Stetiata" de Belin, Op 31 (Lome) i Diablo: Exeudio de Seis (King) Selecre Lae Works. Nine reds (Gee guitar or Kang guitar) (Long) Selected Le Works Il: Fire Dances & Soet Robe (Gor gitar or 1-eing gus) (Long) CGoncerroin A, RV 82 (Zam) “The Stubboon Oak Gacona (Toonsinfr) Gourance Royale (Long) Caprica Canales Homage to Pazzll (Patis/ Robinson) “Toro Songs of Christmas (Robinson) Music FOR TWO OR MORE GUITAR Aunt, Fnac Bact} Brera, Toms Qasninirasn, A Ropelavez, Atsenr0 Sarin, Ene | Sours, Awromie Wrase, Rex. ‘Tango in D, Op. 165, No.2 (Long) Fags C-Duc, BWV 953 (Long) Fague ne, fom Concerco e fg, BWY 909 (Long) Da for two gucars “and eyeglascsobbligatc (Long/Switzer) Jota de Lat Delores (P. Romero) (or Four guitars) ls Preperation} ‘Twelve Reee-Houce Linder, Op. 10 (Long) \Variacones sobre un tema de W. A, Mezatt Trois Gnossiennes (Long) Sonata ine, M.1, R48 (Long) Sonats in D, R64 (Long) Sonata in D, M. 34,R.92/4 (Long) ‘Sonata ins, B. 118 (Long) ‘The Floating Ancillary Anes {for chee guitars or guitar orcheste CHAMBER/VOCAL MUSIC WITH GUITA ‘nox, Sranusn (20.) Cansts, Faane | Gaasapos, Exmigue Kavrenas Jar | Korewen. Josue ‘Masui, Jose Lors CuaKorzounow, A Rowsao, Cetaoowta Saris, Eee Scwoexen, Gary TELEMANN, G. P. Tosti, Exaico (On A Sunday Atternoon & Other American Pople Songs for vie ad gar) Complete Works, Vol. 2: Songs with Guia o Pano ‘Accompaniment (Ribet) fn Preparation) La Mts de Goya Tonal woce & pits) (P. Rome Jinx on Ys (for te and uite) Serenade (iD), Op. 97 (fr wai o ate and site) (Log) Propresones pars Paine (for guitar and Alte) “Three Fol Songs (But, ell, co guiars) Suite Andaluza No.2 (pate yitaeay Mae) le Preparation) Tango Angsita fo voice and git) (P. Romero) “Traut Gnossenaes (oe fre [or vain o abe] sn car) (Long) ‘Once Upon A fae and guitar) (Vien) Tro Sonate Ni, 3 ina for tecotder/ fate, lin, gts ad ello) (Welch) Serenata, Op. 6 (froin and guia) (Long) ications Tuscany y Publications ve THE THEODORE PReesER CO. tt Acne AMM

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