Friday, November 14, 2014

Guitar Ensemble Program & Notes

Performers (not in order pictured; click photo to enlarge): Kenneth Bozanich, Tyler Burkhart, Michael Carrasco, Sandee Castaneda, Nick Hart, Andrew Heavelin, Bryant Kellison, Jason Keyes, Erin Laetz, Leo Plummer, Ryan Woempner.  Special Guest: Elisabeth Harrington.


 Arrulladora mexicana by Manuel Ponce
 Danza Paraguaya – Agustin Barrios Mangore
 Two Andean Folk Songs – arranged by Jeremy Sparks
 Bachianas Brazilieras No.5 – Heitor Villa-Lobos
 Micropiezas – Leo Brouwer
 I Suite All’Antica – Guido Santorsola Minuetto
 Arietta Zapateado Caribe – Agustin Barrios
 Mangore Mambo Inn – Mario Bauza, Edgar Sampson, Bobby Woodlen
 Agua de Beber - Antonio Carlos Jobim

Notes by Nicholas Lambson

The HSU Guitar Ensemble will perform music from Central and South America on this concert, represented through works from Cuba, Mexico, Peru, Paraguay, and Brazil. The program will include collaborations with students on bass, congas, and flute, and we are also excited to also be joined by Elisabeth Harrington, HSU professor of voice.

 Although most of the pieces on the program were written within the past few decades, versions of the guitar have been a major component of musical life there for hundreds of years. Much of this music does not survive, partly because a lot of it was improvised - guitarists tend to do a lot of that now also, so I guess not much has changed!

Heitor Villa-Lobos
The famous Brazilian composer, Heitor Villa-Lobos, frequently “jammed” with Brazilian street groups, called Choro bands. Paraguayan composer, Barrios Mangore, was also steeped in the improvisatory folk music of his country, and he would even perform in full traditional Guarini tribal dress. Luckily, they left us with fully composed music as well, which has the advantages of being able to clearly communicate what they intended, the works can often be more complex, and the pieces are generally repeatable.

 Each piece on the program is coming from a different place here: some are directly based on folk melodies, some are aligned with Western European styles, some are complex modern works, some are “improvisatory,” and many combine these into unique pieces of music that represent a complex and intimate relationship with the guitar.

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