REGISTER NOW AND GET
• 5 FREE tracks! • 101 tracks for $9.99
ClassicsOnline Home » Guitar Recital: Coves, Vicente - PONCE, M.M. / ROMERO, C. / BROUWER, L. / MOREL, J. / BARRIOS MANGORE, A. (Latin-American Music for Guitar)
Awarded the Moscow Tchaikovsky Conservatory’s Rubinstein Medal, classical guitarist Vicente Coves presents a beguiling recital of music from Argentina, Cuba, Mexico, Paraguay and Spain in which Classical and folk music, Afro-Cuban jazz and avant-garde influences, passion and pathos may all be heard. Vicente Coves is accompanied on Chiquilín de Bachín by the legendary flamenco artist Enrique Morente and Nobel Prize-nominated poet Horacio Ferrer, in a performance taken from a concert recital in Seville. The Naxos Guitar Collection is the world’s largest catalogue of recordings of the classical guitar with music from Bach to Villa-Lobos, Paganini to Sor, all performed by leading guitarists from around the world.
Latin-American Music for Guitar
Ponce • Romero • Brouwer • Morel • Barrios • Cantoral • Iradier • Coves • Ramirez • Piazzolla
The great composer Villa-Lobos once said about Manuel María Ponce: “It gave me great joy to learn that in that distant part of my continent there was another artist who was arming himself with the resources of the folklore of his people in the struggle for the future musical independence of his country.” Preludio  and Chanson  are excellent examples of one of the best composers of the century.
The guitarist, composer and poet Celedonio Romero, born in Cienfuegos (Cuba), founded the most famous family of virtuosi since the Kreutzers. He began his study of music and guitar with Joaquín Turina and Daniel Fortea. Guasa  is one of his more representative works for solo guitar. Celedonio wrote ten concertos for guitar and orchestra, including the famous Concierto de Málaga and more than 150 works for solo guitar, including Angelita .
The Afro-Cuban composer, classical guitarist and conductor we now know as Leo Brouwer was named Juan Leovigildo Brouwer when he came into the world in Havana, Cuba on 1st March 1939. Brouwer’s compositions reflect classical, Afro-Cuban, jazz and avant-garde influences. Brouwer’s music shows the influence of Cuban folk music and Canción de cuna  is one of his most beautiful works.
The great composer and Argentinian guitarist Jorge Morel moved to New York in 1961 and met the Romero family, an encounter which resulted in a long friendship. Morel wrote Al Maestro  after the death of Celedonio Romero in 1996.
Agustín Barrios Mangoré was a Paraguayan guitarist-composer of rare talent. In about 1910 he made what is believed to be the first classical guitar recording. The Bach-inspired La catedral (1914) – is often considered his most impressive work. The biographer Richard Stover writes: “…Passing by the church one day, he heard from within the music of Bach being played…The Andante religioso represents this impression. Upon its termination, Barrios then leaves the serene, religious atmosphere in the cathedral and once again walks out into the busy street…”. The Allegro solemne represents this contrasting impression. In 1938, Barrios created the Prelude subtitled Saudade…In this three-part form he played the piece during his final years…”
Roberto Cantoral was born in Ciudad Madero, Tamaulipas in 1935. He is among the best popular composers of traditional music and El reloj  is one of his best songs or “boleros”.
Sebastián Iradier was a Spanish Basque composer. He is known primarily for his habaneras and especially for La Paloma , written around 1860 after a visit to Cuba. La Paloma has proved extremely popular both in Spain and America (especially Mexico).
Vicente Coves wrote Chelitango , a work in tango form, in 2004. It was dedicated to Consuelo (Chelo) Gómez Pérez.
Composed by Ariel Ramirez, Alfonsina y el mar  is based on the tragic death of an Argentine poet called Alfonsina Storni, who threw herself into the sea at Mar de Plata.
Astor Piazzolla was not only the most renowned tango musician in the world but also a composer whose works are performed by distinguished musicians, chamber groups and symphony orchestras. He perhaps drove the tango beyond its bounds, so far, aesthetically speaking, that many tango players were unable to accept his achievement or to understand it. Those who did follow him and those who came later were faced with the heavy burden of solving how to avoid, albeit partially, his influence and to find a new path after his work. In 1965 he introduced Verano porteño, the first of the very important tangos which would become the Cuatro Estaciones (Four Seasons). In 1969 Balada para un loco and Chiquilín de Bachín  brought Piazzolla and the poet Horacio Ferrer unexpected and massive success. That year he recorded them with his female singer Amelita Baltar and also with the singer Roberto Goyeneche.
Last Albums Viewed
Guitar Recital: Coves, Vicente - PONCE, M.M. / ROM...