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Download Latin American Serenade CD Full-Color LatinLatin AmericanAmerican SerenadeSerenade GreggGregg Nestor,Nestor, GuitarGuitar Carlos Lyra Baden Powell Antonio Lauro Manuel Ponce Mario Gangi João Pernambuco Laurindo Almeida Benito Canonico Rodrigo Riera Carlos Atilano Agustin Barrios Mangore Album Notes by Tom Williams AlbumAlbum ProducedProduced byby GreggGregg NestorNestor RecordedRecorded atat PenguinPenguin Recording,Recording, EagleEagle Rock,Rock, CACA BetweenBetween AprilApril andand June,June, 19911991 Engineer:Engineer: JohnJohn StrotherStrother DigitallyDigitally MasteredMastered byby JonathanJonathan Marcus,Marcus, OrpharionOrpharion RecordingsRecordings AlbumAlbum ArtArt Direction:Direction: MarkMark BanningBanning Mr.Mr. Nestor’sNestor’s GuitarGuitar byby JoséJosé Ramirez,Ramirez, 19841984 FrontFront Cover:Cover: RainbowRainbow inin thethe Mist,Mist, IguassuIguassu Falls,Falls, Argentina,Argentina, SouthSouth AmericaAmerica BackBack Cover:Cover: AngelAngel Falls,Falls, OrinocoOrinoco Basin,Basin, CanaimaCanaima NationalNational Park,Park, VenezuelaVenezuela TraycardTraycard andand CDCD Label:Label: SanSan RafaelRafael Falls,Falls, QuijosQuijos River,River, Amazon,Amazon, EcuadorEcuador he guitar music of Latin America is mythical, idyllic place; a legendary land unique, indigenous as rich and varied as the influences of peace, freedom and equality longed for musical form - the vals that have inspired it. Latin history by generations of African slaves in Brazil. venezolano, or Tis interwoven with the beauty and Venezuelan waltz. It nuance of two predominant languages – Brazilian combines the folkloric Spanish and Portuguese – as well as composer/guitarist hemiola meter (1-2-3/1- hundreds of regional cultures that have ROBERTO BADEN 2-3/1-and-2-and- 3-and) provided both its artistic variety and POWELL DE AQUINO with the South vitality. Nowhere is this more manifest (1937-2000), popularly American waltz style than in its music. known as Baden Powell, popular in fashionable was one of the most salons throughout the continent during Gregg Nestor takes us on a musical influential musical the 19th Century. Like his artistic journey to a number of Latin American personalities of his generation. His contemporaries, Lauro was dedicated to points of interest, amply demonstrating father, a scouting enthusiast, named him creating a strongly nationalistic, why this repertoire is a treasure for after Lord Robert Baden Powell, the identifiable style - a Venezuelan corollary classical guitarists. founder of the Boy Scouts. In 1962, Baden to Argentinian tango or Brazilian samba. met the poet-diplomat Vinicius de Largely unknown beyond the borders of CARLOS LYRA (b. Moraes, Antonio Carlos Jobim’s lyricist at his native country for years, his works 1939) is a Brazilian the time, and the two collaborated on a were featured beginning in the 1960s in singer and the composer number of songs that became some of the international concert programs of his of numerous bossa nova the classics of Brazilian popular music. fellow countryman, Alirio Diaz. They and “Música Popular Bossa nova was the prevailing sound, but now form an integral part of the standard Brasileira” classics. He Baden and Vinicius wanted to combine classical guitar repertoire. Natalia is one was a major figure Afro-Brazilian forms such as Candomblé, of his first folkloric waltz compositions, among bossa nova Umbanda and Capoeira with Rio de one of a set of four dating from 1938-1940 musicians who emerged Janeiro's samba forms. The result was a that, years later, he named after his soon after the genre’s pioneers - João song cycle released in 1966 on the LP daughter. It is arguably his most famous Gilberto and Antonio Carlos Jobim – "The Afro-Sambas of Baden and waltz. The three Venezuelan Waltzes established the style. Later, he joined Vinicius." Gregg Nestor has chosen one continue Lauro’s exploration of this singer Nara Leão as part of bossa nova's of the most famous of the Afro-Sambas – distinctly upbeat, native waltz style in a activist wing, seeking a return to its Canto de Osanha (Chant of Osanha). set of very short themes. Juliana is among samba roots. Gregg Nestor has chosen Osanha is an Orisha (supernatural being) Lauro’s most European waltzes and could Brazilian guitarist Paulinho Nogueira’s of the Afro-Brazilian religion. easily be re-titled as an etude. It arrangement, dutifully transcribed by incorporates the more complex form of Luis Zea, of one of Carlos Lyra’s most Venezuelan composer/ guitarist AABB’CC’. Lauro's Variations on a popular compositions – Aruanda. In ANTONIO LAURO (1917-1986) often Venezuelan Children’s Song includes a Afro-Brazilian folklore, “Aruanda” is a incorporated in his guitar compositions a dedication: "Homage to the guitarists of the XIX Century." Its inspiration is the illusion of a folkloric harp. The title romantic serenade, contrasting with the instantly recognizable to classical refers to its 6/8 rhythm, with the llaneros more up tempo melodic theme of the guitarists - the theme/variation or people of the plains giving Lauro the second. compositions of Sor, Giuliani, Carcassi right to adopt their beloved joropo. and others of their generation. The first JOÃO TEIXEIRA half of the melody is the Venezuelan Andrés Segovia called GUIMARÃES, known children's song Palomita Sentada, but the Mexican composer as JOÃO second half is uniquely Lauro’s, who MANUEL PONCE PERNAMBUCO (1883- wished to broaden the simple melodic (1882-1948) the “St. 1947), is one of Brazil’s theme. Francis of Assisi of the most beloved gifts to guitar,” referring to the classical guitar and Lauro’s Tríptico, composed between 1974 Ponce’s selfless its devotees. An and 1976, consists of three pieces in E devotion to creating a ironworker from the minor which the composer combined at serious repertoire for State of Pernambuco the request of Andrés Segovia. The first the instrument. Ponce was among the who emigrated to Rio do Janeiro in 1902, of these, Angostura, is the ancient name first of his countrymen to pursue a he was a very proficient guitarist and a for Ciudad Bolívar, Lauro’s birthplace. European musical education, studying in skilled, self-taught composer for the Madrugada (“Before Dawn”) is an Italy and Germany, and later in Paris with instrument. Sadly, much of his repertoire appoggiatura study drawn from one of Paul Dukas. He met Segovia in 1923 and was lost at the time of his death, because Venezuelan composer (and Lauro’s wrote five sonatas for him, as well as except for Heitor Villa-Lobos’s mentor) Vicente Emilio Sojo’s few three theme/variations and transcriptions of his music, coupled with original works for guitar. It was arrangements of Mexican folk melodies. transcriptions taken from his sparse composed shortly after Sojo’s death. La Gregg Nestor plays his own arrangement recordings, his music was not published. Negra was Lauro’s niece Armida’s of Ponce’s most famous song, Estrellita Gregg Nestor has chosen Pernambuco’s nickname. Musically, it is very close (Little Star), dating from 1912. Scherzino most famous choro, Sons de Carilhoes. thematically to Lauro’s more famous Mexicano is a transcription of one of The title has been translated as “Sounds Natalia. El Marabino is a short Ponce’s piano works. of Bells” or “Sounds of Carrillons.” Since Venezuelan waltz. A marabino is a carilhoes can be translated from resident of the Maracaibo, Venezuela. Italian composer/guitarist Portuguese as “bells, “carrillons” or even Seis Por Derecho – literally “Six by Right” MARIO GANGI (1923- “doorbells,” there has been a friendly is a joropo – a dance popular among the 2010) was a European who debate fo years among Pernambuco native people of the Venezuelan plains. was very much at home admirers about the most appropriate The piece is subtitled “styled after the with Brazilian musical translation of the title. Notwithstanding, Venezuelan harp.” It is a lively, energetic styles, represented in this it is evident that Pernambuco was dance, with what might be described as collection by his evoking a bell-like sound from the guitar, an “inverted” hemiola alternating Contrastes Brazilianos evident in both the A and B sections. between 6/8 and 3/4, and Lauro creates Nos. 1 and 2. The first is a lovely, very Brazilian Venezuelan away from Venezuela guitarist/composer guitarist/composer brings in me a kind of LAURINDO RODRIGO RIERA (1923- intense nostalgia, and ALMEIDA (1917-1995) 1999) is from the same with that nostalgia comes had a rich, varied generation that produced a longing for my career that included Antonio Lauro. The two homeland, its music, forays into Brazilian first met in Caracas in 1941 places and the aromas of popular music, jazz and eventually were fellow the tropics. All of these and classical repertoire. A 7-time guitar students of guitarist and composer things are conveyed in each of my Grammy winner who resided for many Raul Borges. In 1949, Riera met Andrés Venezuelan folk pieces. years in Southern California, he first Segovia, who encouraged him to further performed in the U.S. in 1947 at the his studies with him. After establishing a My Three Venezuelan Pieces: Aire invitation of Stan Kenton. Though career as a concert guitarist, he returned Criollo, Cancion and Valse, along with El known for his mastery of varied styles, he to Caracas to teach guitar, and from there Vals de Gregorio, are a good example of was perhaps best known as a “mestre do until his death he devoted his energies to that nostalgia, happiness, and longing. violão bossa nova,” (master of bossa nova composition. His Venezuelan Waltzes The first three were composed in Caracas guitar), perhaps Brazilian guitar’s most Nos. 1-3 move away from the folkloric, in 1984 and were dedicated to Antonio accomplished non-resident. He is hemiola tradition of his contemporaries Ochoa, my first guitar teacher at the represented here by Braziliance, a and instead are charming miniatures of Conservatorio de Musica Juan Jose wonderful example of a contemporary the parlor or salon style of waltz. No. 4 Landaeta. They were premiered in 1987 Brazilian choro, incorporating a slightly hearkens back to the vals venezolano by the Venezuelan guitarist Gabriel less-traditional choro form of A-B-A-C- tradition made popular by Lauro.
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