Agustn Po Barrios was born in southern Paraguay on 5 May 1885,
and died on 7 August 1944, in San Salvador, El Salvador. To many,
Barrios was the greatest of all guitarist/composers. In view of
this, it is curious that his music lay undiscovered and
unappreciated for over three decades after his death. In the
mid-1970s comprehensive editions of his music appeared, making it
possible for guitarists of a younger generation to study his music,
augmenting and complementing more traditional repertoire. The
revival began in 1977 with a release by John Williams of an entire
recording of music by Barrios, bringing overdue recognition to this
forgotten Latin American guitarist. Today Barrios music is
frequently performed by major concert artists and is appreciated by
audiences worldwide. As a young man, Barrios never studied in a
formal music conservatory, and completed only two years of high
school. He made his living from performing, and had no other
professional skills in any other pursuit except playing the guitar
and composing music. The exigencies of life as a performer brought
constant travel and he never really settled down in one particular
country. He spent extended periods of time in Brazil (19151919),
Uruguay (19121915, 19191927) and El Salvador (19391944). In none of
these places did he establish a conservatory, nor did he pursue the
systematic publication of his music. He escaped from Latin America
only once in 1934, when he visited Europe, staying just fifteen
months, but his lifelong goal of reaching the United States never
came to fruition. Undoubtedly one of Barrios most-performed
compositions,La Catedralwas written in 1921. Many years later he
added the exquisitePreludio, providing a complete work that is an
example of his finest writing. Barrios performed this work quite
often throughout his career, probably more than any other of his
compositions, a reflection of its popularity with the concert
public. ThePreludio, subtitledSaudade(Nostalgia) was written in
Havana in 1938, when Barrios was suffering from a decline in health
complicated by a lack of money and the inevitable stress to his
marital life that these difficult conditions created. In
thePreludiohe pours out his heart, yearning for the joy and comfort
of former times. He performedLa Catedralwith the prelude for the
first time in San Salvador on 25 July 1938.Barrios greatly admired
Beethoven and early in his career transcribed the well-knownMinuet
in D, which he included regularly in his concerts. He also
performed minuets by Fernando Sor. This affinity he felt with the
nineteenth-century masters no doubt served as inspiration for his
six minuets.Barrios discovered the music of the great Spanish
guitarist and composer Francisco Trrega (18521909) around 1917, and
grew to admire him greatly. Recognizing the importance of the
Spanish masters work in the development of the guitar, Barrios
declared: Without Trrega, we would not be. He regularly performed
Trregas music in his concerts and recordedCapricho Arabeon two
different occasions. In 1939 in Guatemala, Barrios composed a set
of six variations on Trregas ever popular student workLgrima,
creating a sophisticated virtuoso display of the theme, using
arpeggios, appoggiaturas, tremolo, melodic harmonics, and other
devices.Variations on a Theme of Trregais one of his most mature
compositions, reflecting a lifetime of devotion to and a thorough
mastery of the instrument he loved.
Biography of Agustin Barrios Mangore - Part 1SATURDAY, FEBRUARY
21, 2009Early YearsIn the year 1885, Barrios was born in the small
and quiet town of San Juan Bautista in the Department (district) of
Misiones. Located at Southern Paraguay, an agricultural and
undeveloped area, as was much of the country. If you would have
seen this simple little town at the time Barrios was born, and then
today, you wouldnt notice many changes, except two monuments to his
memory in the central plaza. Although born to a musical family,
nobody would have guessed that this boy in this small country in
South America would become one of the most successful masters of an
instrument.Agustns father was an Argentinean, Doroteo Barrios,
married to a Paraguayan woman, Martina Ferreira. Doroteo held the
position of Argentine vice consul in the Misiones Department.
Martina was a school teacher. Agustn probably inherited from her
the love for poetry and literature.Both parents were cultured
persons, who loved the arts. Doroteo had an extensive library, one
of the most complete in the area of Misiones. Seven sons were born
to them: Rmulo (1874), Hctor (1875), Virgilio (1874), Jos (1881),
Agustn (1885), Diodoro (1888) and Martn (1895).
Doroteo played the guitar, and with his brothers Pedro and
Cornelio, who played the violin and the flute formed a musical trio
that played for special occasions. Doroteo was a folk guitarist who
played rhythm to popular tunes, such as polcas, vals and zambas.
Barrios learned by imitating his father. Doroteo got for him a
small guitar from which he drew extraordinary sounds and delighted
his friends.Later, his family formed a new small orchestra. Rmulo
played the harp, Hctor the violin, Virgilio the flute and Jos,
Agustn and Diodoro played guitars.Barrios only teacher, Sosa
EscaladaIn 1898, Barrios met one person that would be one of the
most influential in his life: Gustavo Sosa Escalada (1844-1944). He
was an argentine-born Paraguayan. He spent his youth in Buenos
Aires where he studied classical guitar with Carlos Garca Tolsa,
Juan Alas and Antonio Ferreyro.He returned to Paraguay in 1895,
where there is a record of his participation in a concert in
Asuncin. He taught classical guitar from 1897 to 1909 in a private
school. He utilized the guitar methods of Fernando Sor, Dionisio
Aguado and Fernando Carulli. He had a friendship with Hctor
Barrios, which led him to spend some vacation time in San Juan
Bautista in 1898. During this stay in the Barrios home he first
heard Agustn play the guitar. He immediately began giving lessons
to the talented boy. And then advised his parents to send him to
Asuncin to continue with his studies of music and the guitar.Later,
in a Guatemalan newspaper, in 1933, Barrios declared about this
first meeting:I listened to him play and great was my surprise in
discovering that the pampa instrument that I played with such joy
contained such marvelous possibilities.To the CapitalIn 1899 young
Agustn went to Asuncin. He lived with his older brothers and
studied guitar with Sosa Escalada. He entered the National High
School in 1901. He was 15 years old, two years older than most of
his fellow first-year students.Barrios was a talented artist who
many times would draw caricatures of classmates and teachers while
classes where in session. He also was an avid reader, whose
favorites were Don Quijote, Martn Fierro and A Thousand and One
Nights.By 1903 he became more and more involved with the guitar and
left high school. No doubt during this period a good deal of time
was spent studying classical guitar fundamentals and developing his
skills. In December, 1903, he made his formal concert debut as a
guitarist. This concert had a last minute change in its program: a
singer named Mara Barbero was to have performed a vocal selection,
due to illness she wasnt able to assist. This gave him the
opportunity of performing a guitar duo with Juan de la Cruz
Samaniego, Fantasa en Imitacin al Piano by Vias.Even though he was
only a last minute replacement, this was an important step forward
for him as an artist.However, he realized that he couldnt make a
living from a guitar. He began trying various jobs: as a scribe at
a Bank, in the Paraguayan Navy and even as a newspaper reporter. He
wasnt successful at any of these posts. His only true passion was
the guitar.Barrios and the Maestro Pellegrini
At this time he met another important person in his life and
career. Nicolino Pellegrini, born in Viggiano, Potenza, Italy.
Studied violin in Geneva, Switzerland and Paris. In 1888 he
traveled to Porto Alegre, Brazil. He came to Asuncin in 1893.
Settling there, he began teaching violin, tuning pianos and
organizing concerts. He then formed a student orchestra, and was
the conductor for most of orchestral concerts of the day.
In 1895 was created the Instituto Paraguayo, and Pellegrini was
named the director of its music program. Its said that Barrios
abandoned the National High School in 1903 to study music seriously
in this Institute under Pellegrini. He also learned a bit of violin
and cello.
Thanks to Barrios relationship with Pellegrini, the principal
personality in the musical society of Asuncin, his appearances in
concert began to increase. As his popularity.
Barrios' early repertoire
From this time is known his original composition Abr la Puerta
mi China, the manuscript is dated December 25, 1905. This piece
reveals that Barrios knew the entire range of the instrument and
had a correct knowledge of harmony and modulation.
In addition to this original composition, we know he played some
popular Paraguayan tunes and some music by Aguado, Sor and Garca
Tolsa. He didnt know Trregas music yet, as it wasnt available in
South Amrica. We also know that he played an early version of the
sonatina A mi Madre.
He was constantly chosen by Pellegrini to participate in
concerts, but as these concerts were sporadic, he spent his time
playing serenades every night during the years 1905-1909. He had
established a reputation as a professor of guitar.
By this time he was beginning to feel that he needed to travel
abroad to further his career as a concert performer, as he has
already conquered the small musical scene of Asuncin.
He first tried to tour the small rural towns of Paraguay. But
probably by a lack of market he returned to Asuncin, and realizing
he couldnt make a living as a concert guitarist in Paraguay, he
started teaching.
Preparing to fly
At this point he met another important person for him: Viriato
Daz Prez, a Spaniard who emigrated to Paraguay. He influenced
Barrios in the areas of philosophy and metaphysics, introducing him
to theosophic doctrines and beliefs.
He also urged and helped him to leave Paraguay and seek new
horizons. In January 1910 he wrote a letter of introduction to an
Argentine friend, Mario Villar Senz Valiente, publisher of the
Buenos Aires newspaper La Nacin. Barrios at this time was playing
concerts in Argentine towns Corrientes, Posadas and Resistencias.
Valiente reportedly heard Barrios play in the town of Corrientes
and invited him to come to Buenos Aires.
He now was ready to depart to the great city of Buenos Aires,
which was the major center of culture in South America, the perfect
place to pursue his career. His desire to depart Paraguay was also
fueled by Nicolino Pellegrini who took a month long trip to Buenos
Aires to arrange for the publishing of pieces by him.
Biography of Agustin Barrios Mangore - Part 2SATURDAY, FEBRUARY
21, 2009In the Land of Opportunity
Buenos Aires was a center of commerce, politics and art. This
city had extensive immigration in the previous years, specially
from Italy, and it had a cosmopolitan atmosphere. Barrios had the
opportunity to watch top European artists in the great Teatro Coln,
established in 1908.
In 1910, the year Barrios arrived, was the centenary of the
independence of Argentina, so, the city had even a more festive
mood. He attended guitar concerts that were performed regularly. He
was particularly impressed by Miguel Llobet, whom he probably saw
in concert during this year. Years later Barrios declared Llobet to
be the greatest guitarist he had ever heard.
It wasnt easy at first for Barrios, he didnt just arrived to
Buenos Aires and started a concert career. He made his living
playing in movie theaters providing music for silent films. He also
played incidental music for theaters.
Metal Strings, Popular music and the Paraguayan
Sometime in early 1911 he traveled to Chile and even as far as
Peru. Reportedly he gave a concert in Santiago, which was harshly
criticized, because he presented an inferior program composed
mainly of popular tunes, and he used metal strings!
At this time, our artist didnt present in concert what was
considered the standard for classical guitarists. He played mainly
popular tunes. I think that this was caused by many factors. First
of all, he used metal strings. He was harshly criticized for this
in Buenos Aires by the elite of Classical music. After that he was
ashamed to present works of classical guitar by Sor and Aguado that
he probably knew.
One of the principal characteristics of Paraguayan people (I
know how they are, I am one and live here) is that one of their
greatest fears is to be publicly ashamed, to be rejected. This was
what happened to Barrios, he was an outsider from the guitar
community because he did not use gut strings. And for whatever
reason he didnt want to change his metal strings.
Miguel Herrera Klinger, an Uruguayan friend of Barrios declared
that on a certain occasion he was in Buenos Aires at a sheet music
and guitar store, Agromayor and Co. It was where the guitar world
would meet every day. He says that he overheard a conversation
between Andrs Segovia, Regino Sinz de la Maza and Domingo Prat
regarding Barrios. Sinz de la Maza was the only one who did not
reject steel strings, as long as it was Barrios who played on them.
To what Segovia said: Well, as far as Im concerned, I wouldnt know
what to do with that wire fence.
He directed himself more towards the popular music public that
didnt bother if he used metal strings, playing tangos, marches,
etc.
Barrios great friend: Martn Borda y Pagola
At some point in 1912 Barrios journeyed to Montevideo, Uruguay.
Martn Borda y Pagola was a successful rancher of livestock who was
an amateur guitarist. He was the owner of various instruments of
great value, for which his house became a center for talented
guitarists. It is probable that friends of Barrios in Buenos Aires
gave him Borda y Pagolas address and he journeyed to Montevideo to
seek a patron relationship.
Borda y Pagola was a great supporter of Barrios, giving him at
various times either financial or emotional help during the next 15
years. There is a story that Borda y Pagola became Barrios
protector and he constantly urged him to write down his
compositions (something at which he wasnt very interested). At some
point, Borda y Pagola became so frustrated with Barrios that he
locked him in a room, declaring that he would not free him until he
had written down many compositions.
The first recordings
In 1914 he returned to Buenos Aires where he began recording for
the Argentine labels Atlanta and Artigas and produced seventeen 78
rpm phonograph records that show what kind of repertoire he was
playing at this time.
They were all original works or popular tunes, marches and
tangos. He developed this kind of folkloric repertoire playing in
cinemas, where he had to fill time.
These are the first recordings ever made by a classical
guitarist.
Expansion and growth in Uruguay
During the years 1912 to 1916 he must have spent a lot of time
in Borda y Pagolas ranch, where he made many friends. Some of this
friends also offered Barrios a place to stay, something Barrios was
particularly fond of. He reputedly lived one entire year with
guitarist Luis Pasquet in Salto. These visits to friends would be a
pattern he would repeat throughout his life, and he always would
pay them with his art. During these years he also performed in many
towns of Uruguay.
During the period of 1914 to 1916 he traveled forth from Uruguay
to Brazil. We have a recorded program from a performance in Rio de
Janeiro in 1916 that reveals a more substantial and classical
repertoire, which includes transcriptions of Bach, Verdi, Chopin,
Grieg and Mendelssohn, as well as music by Aguado, Giuliani, Coste
and Arcas. He also played, of course, some original works.
The conquest of Brazil
From 1916 until 1920 Barrios was in Brazil. He based himself in
Sao Paulo, probably with a supporting patron. He was constantly
expanding his knowledge of music and the guitar. He now
incorpoarated in his concerts more standard pieces for classical
guitar, like Capricho rabe by Trrega. He also continued
transcribing works by Bach, Beethoven, Bufaleti, Chopin,
Mendelssohn and Schumann.
He also made a great step upward in his compositional skills.
Some of his masterpieces are from this period, like Un sueo en la
Floresta, Mazurka Apasionata, Allegro Sinfnico and Romanza en
Imitacin al Violoncello.
He played concerts in Sao Paulo and Southern Brazil with great
success. He gained the reputation of an outstanding artist. This
made him possible to meet the Brazilian luthier Romeo Di Giorgio,
who made a guitar with 20 frets specially for Barrios. He utilized
the high C now possible on his magnificent piece "Un sueo en la
Floresta". He also met Arturo Napoleao, a Brazilian
pianist/composer, whose Romanza barrios had transcribed for
guitar.
The first death of Barrios
In 1918, due to a confusion with a musician of the same name,
newspapers from Asuncin reported that Barrios had died in the town
of Melo, Uruguay. Of course he was alive and well in Sao Paulo.
The information was corrected the same year. When Barrios was
informed of this, he responded humorously, saying I was able to
assist my own funerals, death is such a nice thing.
The most curious of this is that, this happened again later,
when his death was falsely reported in 1934 first in Mexico and
later in Venezuela.
Barrios and Gino Marinuzzi
Gino Marinuzzi was the world famous conductor of La Scala Opera
of Milan. He was in Rio de Janeiro around 1919 presenting some
performances at the opera house. He had heard of Barrios and
invited him to play at a special private get-together of about 20
friends (many of whom were knowledgeable professional
musicians).
The outcome was very positive. Barrios was applauded and warmly
congratulated by the Maestro and gave him a photo of himself with
the following text: To the great Barrios, who has revived the art
of Galilei and Simon Molinari, with affectionate admiration, Gino
Marinuzzi. Rio, September 30, 1919.
This was a great achievement for Barrios, to receive approval
from one of the leading musicians of the day, not only as a
performer but also for his talent as a composer. If he had been
able to maintain contact with Marinuzzi, Barrios undoubtedly would
have been able to arrange a tour to Europe much earlier, and his
life would have turned much more different than it did.
On November of this successful year, he received a special
invitation from the Presitdent of Brasil, Epitasio Pessoa, to
perform at the Presidential Palace a concert for diplomats and
ministers. After his performance the high ranking diplomats raised
their champagne glasses for the great artist.
This successful period for Barrios was also of extraordinary
progress in composition. Ever since 1919 all of his works are
masterpieces of the guitar repertoire.
Biography of Agustin Barrios Mangore - Part 3SATURDAY, FEBRUARY
21, 2009Barrios and Segovia
In June, 1920, Barrios returned to Montevideo from Brazil. At
this time, Segovia was also in Montevideo giving concerts. The two
guitarists never met during the five weeks they were both in
Uruguay. That would have to wait till the following year in Buenos
Aires. It is interesting to compare the repertoire of both
guitarists at this time. Both included transcriptions of the
classics (Bach, Beethoven, Chopin). Segovia included numerous
pieces by Sor and Trrega, he also played Granados and Albniz. This
represented the modern concert guitar repertoire of the times (he
hadnt yet met Ponce, Trroba, Villa-Lobos). Barrios, apart from the
classics played mid 19th century Spanish music by Arcas, Parga,
Broca and also Trrega and music by Latin Americans (Albano, Garca
Tolsa).
The main difference is in the area of original compositions.
Segovia only originals were his arrangements of music by classical
composers. Barrios played many of his compositions in his concerts
because, as he said, there wasnt many pieces by others that
inspired him.
In 1921, they met in Buenos Aires, they were introduced by a
friend after a concert. Some time later, Barrios went to visit
Segovia at his home. He played for the Maestro, and he was greatly
pleased. According to Klinger, Barrios biographer: Barrios played a
cascade of musical gems for the great Segovia who was
surprised...better yet: he was floored. Nearly 2 hours later he was
congratulated by the Maestro. One particular work he liked very
much and indicated he would play in his concerts. Barrios gave him
an original copy with a dedication. The work that Segovia said he
would like to program in his concerts he never played. And
logically so: if he had played it, with the extraordinary abilities
he possessed he would have elevated Barrios to inaccessible
heights, thus detracting from his own artistic prestige."
Barrios (right) with his brother Martn in Montevideo
The work that Segovia liked very much was La Catedral. In 1921,
Segovia wasnt in the omnipotent position he would occupy in
subsequent decades, so, he didnt accept any competition. If he had
been sincere he would have programmed La Catedral and other pieces,
and helped Barrios to arrange concerts in Europe and the United
States. Many years later, Barrios would realize that Segovia wasnt
his friend and say about him that he was deaf in the heart. Barrios
acknowledged that Segovia was an outstanding technician but he
didnt see himself as being in any way less of a technician. Barrios
was proud of his identity as a composer, which involved skills and
talents quite beyond the mere acquirement of physical
virtuosity.
La Catedral: a masterpiece
On April 14, 1921, Barrios said this in a interview with an
Uruguayan newspaper: As much as my precarious state of health has
permitted, I have been able to compose five works for these
recitals. I consider the most important, after Vals de Primavera,
of a romantic cut, La Catedral, which consists of two movements, an
'andante religioso' and an 'allegro solemne'."
This is the first reference to Barrios most widely played work.
He was inspired by an experience he had entering the Cathedral of
San Jos in Montevideo. The Andante with its broad chords represent
his impressions of an organist playing Bach in the cathedral. The
Allegro represent the sensation when he leaves the calm atmosphere
of the cathedral. He enters into the street, the real world, where
everyone is in a hurry and doesnt have time to think. He represents
this perfectly with incessant 16th note figures.
The third movement, the Preludio Saudade would be added years
later.
The return to Paraguay
During 1922 Barrios journeyed again to Chile and Brazil. After
this, he returned to Paraguay on August 21. He undoubtedly had the
desire to finally settle down in his homeland, but he would soon
realize that this was impossible.
The return of Barrios to Paraguay was triumphal, he didnt made a
great amount of money but nevertheless was viewed as one of the
greatest guitarists in the world.
He would play eleven concerts in Asuncion over the next 8
months. This was a time of welcoming for Barrios from all the ones
that played a major role in his formation and now were proud of
what he had become: Gustavo Sosa Escalada, Nicolino Pellegrini and
Viriato Diaz Perez.
He would attempt an open air concert at the Plaza Uruguaya,
along with his brothers who presented poetry. The event turned to
be a great success, crowds of people went to the Plaza to see the
Barrios clan. But this turned to be a problem, Barrios had to
suspend the function because of the noise from the crowd and the
lack of acoustics.
In April 26, 1923, he would travel to Rosario, Argentina, where
he would stay approximately 5 months. He stayed with a friend and
classical guitar teacher, Baptiste Almirn, whose daughter Lalyta
was a prodigy on the instrument and who would become one of the
better known concert guitarists in Argentina.
Barrios taught Lalyta some of his original pieces, and was
stunned with the little gifted artist. He declared about her:
Anything that I can say about this young child, is little,
compared to her enormous talent. My surprise had no limits when, as
if it were the most natural thing in the world, with her lovely
smile, she played Study No. 22 of Coste and the Canzoneta of
Mendelssohn. Works of challenge, even for masters, burst forth as
enchanting art in a shower of crystalline notes from her agile
fingers, which in giddy movements resemble hummingbirds over the
strings.
During the 5 months that they were together, Lalyta learned
Romance en Imitacin al Violoncello, Vals No.4 and Contemplacin.
Barrios spent his time in Rosario composing new works. It was
evidently a productive time, at least 17 works are dated from this
period.
He traveled to Buenos Aires and Uruguay, where he played some
concerts. In August 1924 he was back in Paraguay. He had the desire
to establish a music school in Asuncin, for which he made a
petition to the government. Although he wasnt active in politics,
his inclination was towards the Partido Colorado, which was in
opposition to the Partido Liberal then in power. This made for a
quick negation of his request.
In 1925 he was in Uruguay with his friend Luis Pasquet and also
with Borda y Pagola. He played concerts in Montevideo and towns of
the interior. He spent a year in Uruguay.
Goodbye to the indifferent Buenos Aires
Buenos Aires, the great city that promised him fame and fortune
was the one that most rejected him. Barrios was back there in 1928.
On June he programmed three concerts in the Theatre La Argentina,
of which only one was performed, the other two cancelled due to
lack of public. Disgusted with his failure, he vowed never to
return to Argentina again.
The guitar public of Buenos Aires rejected Barrios with his
metal strings and 19th century type repertoire. To accentuate this,
Segovia was also at this time in Buenos Aires, filling theatres
presenting a modern repertoire, including music by Ponce, Trroba,
Turina, Tansman, etc.
This rejection proved to be a very critical point for Barrios
and I think that is one of the mains reasons why he would change
his identity to Nitsuga Mangor.
In 1929 he left Buenos Aires and journeyed to Brazil, where he
gave concerts in Pelotas, Sao Paulo and Rio de Janeiro. The public
of Sao Paulo was very welcoming to the music of Barrios. On October
25 1929 in the Municipal Theatre a great Literary-musical festival
was given to celebrate Barrios farewell to Sao Paulo.
During this year he also met Gloria Seban, who would be his
companion until the end of his days. He presented her as his wife
although there is no corroboration that they were married. She was
a practical woman who took care of Agustns everyday needs. She was
musically uneducated and was described by some as being unaware of
Barrios genius. But she obviously loved him as she stayed with him
during the next 14 years.
Biography of Agustin Barrios Mangore - Part 4SATURDAY, FEBRUARY
21, 2009The birth of Cacique Nitsuga Mangore
Around 1930 Barrios made his mind to leave southern South
America and make his way towards northward from Rio de Janeiro,
arriving to the United States. He invented the character of Nitsuga
Mangore, the messenger of the Guarani race... the Paganini of the
guitar from the jungles of Paraguay, presenting himself in concert
with full Indian costume, with feathers, bow and arrows.
Barrios in 1930 before changing to Nitsuga Mangore
He started this approach mainly to attract a greater public. But
I think that he also was disillusioned about his lack of success as
Agustn Barrios. The man who was rejected in Buenos Aires and
couldnt make his way to the United States and Europe. To know more
about the story of Mangore and the reasons why Barrios might have
had invented it, click here.
Barrios started to add pieces to his repertoire that reflected
his Guarani origins, like Diana Guarani and Poema de America. He
also changed the name of the piece Souvenir de un reve to Un sueo
en la floresta, that is, a dream in the forest. Apart from these
and others original compositions, he continued playing his now
standard repertoire, that included Sor, Trrega, Albniz and
transcriptions of the classics.
He projected Europe and the United States as his future
destinations and sometimes as places he had been to attract more
public.
On february 20 1931, Barrios gave a concert in Fortaleza where
he played pieces by Bach as the fugue from the first violin sonata,
transcriptions of Mozart and Beethoven and, according to one critic
he was less well received by the public of Fortaleza due to the
excessive classicism of the composer which requires a strict
musical education to be duly appreciated.
The guitarist who was rejected in Chile and Argentina for
playing popular tunes now was criticized due to excessive
classicism!
Touring America
Barrios gave concerts in Brazilian cities and towns until August
1931. On September he journeyed to French Guiana where in the
capital city of Cayenne he gave a concert. Two months later he
landed in Martinique where on December he gave a concert in the
capital Fort-de-France, including a work by the French composer
Jules Massenet to please the French-speaking public of
Martinique.
From Martinique he traveled to Trinidad, in 1932. At this time
the noted British conductor Sir Henry Joseph Wood was in Trinidad
and, after hearing Barrios declared:
Seor Barrios is quite a unique artist, his tonal variety
obtained by plucking the strings at three or four different points,
his colorful playing, rhythm, perfect intonation and splendid
interpretive ability, make his playing a real pleasure and delight
to all music lovers.
Great success in Venezuela
In February he departed to Venezuela, which would be the place
where he would have one of the best periods in his career, as the
Venezuelan public was one of the most appreciative of Barrios
music.
Over the next two months he would play 25 concerts in Caracas,
proving to be a sensation with the public. He was constantly
praised by the press and invited to numerous prominent social
functions.
Barrios impact on the Venezuelan guitar community was profound.
Antonio Lauro, viewed as one of the most important
guitarist/composer from Venezuela, met Barrios around this time, he
declared:
Mangore was a very open person and on certain occasions shared
his knowledge with us. Whatever anyone asked of him, he would give
them. With each question, he would give a long reply, almost a
complete class you might say. He gave long explanations regarding
pulsation and set us to practicing ligados, arpeggios, general
sonority and aesthetics of performance.
Barrios was such a celebrity in Caracas that he even was
featured in advertisements! In a poster showing Barrios playing
there is a caption saying:
Barrios is without any doubt, in the world of art, the Indian
guitarist who leaves on our souls the imperishable taste of his
music without precedent. In the world of the Venezuelian industry,
it is something authentic, genuine, incomparable: Caracas Beer
Colombia, Central America and El Salvador
On May 1932, he suddenly became dangerously ill. There is no
records of concerts until September 3 and 4 in Barquisimeto. By
October he was by Bogot, Colombia. The Colombian composer Guillermo
Uribe-Holgun attended one of is concerts and declared: Mangore is
the reincarnated soul of the musical geniuses and never again will
it be possible to hear an artist of such magnitude.
Great was the success of Barrios in Colombia, where one critic
observed that Barrios had awakened an enthusiasm never seen before
with the cultured, music loving public who admire the great
geniuses of classical and modern music. During the five weeks that
he was in Bogot, he gave a total of 17 concerts.
By March 1933 he was in Panama, where he performed for the
President Abdiel Arias. He gave other performances in Panama but
there isnt records of them. The following month he arrived in Costa
Rica, where he stayed and played numerous concerts until July, when
he traveled to El Salvador. He received great acceptance in all the
places he visited, presenting himself as the Guarani indian he was
accepted by the brother races.
In September he was in Guatemala. Here a critic gives a detailed
description of a concert by Barrios:
In front, a corral of bamboo and two house palms. Mangor
presents himself with feathers. An anachronism. Something for
children. His costume goes with the bamboo, but not with the
guitar.
The reception by the public is cold and silent, with ironic
comments: horrendous, stupendous, shocking, he is on marihuana,
etc.
The indian sits, strokes his instrument in a strangely smooth
manner and begins. The program does not seem to be in agreement
with the situation it indicates that the indian feels he is a
musician, and that he wants to play Bach, Beethoven, Mozart, Chopin
on the guitar! It seems a sacrilege. We expect a disaster, a fatal
musical calamity.
He plays a Serenata Morisca of his own composition. On the mark.
Another of his compositions, andante and allegreto. Notable. A
Chilean dance. The enthusiasm mounts. Little by little the audience
warms up.
The guitar becomes a piano, violin, flute, mandolin, drum. There
is nothing that this man cant do on the guitar. At times it seems
the guitar plays itself...
The applause grows, and increases with each piece until at the
end of the performance the public is shouting encore to which he
replies thank you, simply thank you.
Barrios as Cacique Nitsuga Mangore
He arrived to Mexico in late 1933. He was well received and the
critics were favorable, even though Segovia was also concertizing
in Mexico at that time.
Finally to Europe
In 1934 he met Toms Salomoni who was the Paraguayan Ambassador
to Mexico. He persuaded Barrios to cease his characterization as
Nitsuga Mangore, as it was not dignified and appropriate. This way
chief Nitsuga Mangore was retired, although he later presented him
in concert as Barrios Mangore. Salomoni was very interested in
furthering Barrios career. He knew he must go to Europe.
Salomonis became Barrios new patron and manager and in July 1934
they embarked to Havana, Cuba where they remained for two months.
Barrios had great success in the presentations he made in Havana.
In September they finally sailed for Europe.
They arrived in Brussels, Belgium in September of 1934. There
resided Toms Salomonis elder son and eldest daughter. They remained
there for several weeks. And there is some evidence that during
this time Barrios made friends with Igor Stravinsky.
He played a concert in the Royal Conservatory of Music. Before
the learned professors he presented works by Bach, Beethoven,
Chopin, etc. Which did not impress them. In the second part he
started to present his own compositions and upon ending the concert
the critics shouted Bravo!. This was one of Barrios greatest
artistc triumphs.
Then, the Barrios and Salomonis moved to Berlin, where they
lived for approximately fifteen months. Zuni Salomoni, the youngest
child, who was 12 at that time recalls that there was an organ and
always on the morning Mangore would awaken us children with music
he would improvise on this organ. Sometimes, to entertain us, he
would take his guitar and put it up behind his head and play it
that way.
The oldest son Toms Salomonis recalled that Barrios had a great
respect for my father, but he dod not permit any interruptions
during his practicing, which could last ten to twelve hours with
him shut up in his room, refusing food, until his practicing was
finished.
In all the time they spent in Berlin, Barrios didnt play any
concert. For whatever reasons, they didnt made connections with
professional impresarios. I think there was discrimination involved
on the part of the German hosts.
In 1936 Barrios separated from the Salomonis and sailed to Spain
through Portugal. Barrios played a concert in Madrid and met Regino
Sinz de la Maza and the poet Federico Garca Lorca. He also played
for Queen Victoria Eugenia, whose husband Alfonso XIII presented
him with a guitar by the Spanish maker Morant. According to luthier
Federico Sheppard, who made a replica of this guitar and kindly
contacted me, this guitar was made by Spanish maker Ricardo Sanchis
and not Morant.
At that time the Spanish Civil War was about to start, and
seeing the lack of professional opportunities and feeling concern
for his safety, he returned to America. History didnt give him the
opportunity to succeed.
Biography of Agustin Barrios Mangore - Part 5SATURDAY, FEBRUARY
21, 2009Back in the New World
Barrios arrived to Caracas, Venezuela in February 1936 and he
left in March for Trinidad. There he didnt play many concerts but
he gave guitar lessons to one pupil: Robert Edgeworth Johnstone,
who declared about Barrios in 1985, amongst other things:
But Barrios was obviously not a teacher. One had to get the
information out of him by seeing what he did and then asking him
about it. By watching the way he did it one learnt a great deal,
but one had to drag out of him how he did it, because in some cases
he almost didnt know. He was a rather quiet player; he didnt aim at
volume. I dont know whether it was his guitar or his technique, or
what it was. I can say only at the time I found it very
satisfactory. If a good manager had gotten hold of him, he should
have been a world figure. A world composer, too. Certainly he was
not a man to push his own affairs or drive forward. But he was at
least contented. He had no complaints about not being recognized. I
didnt detect any of that sort of attitude.
Here Johnstone is talking about a typical Paraguayan attitude.
Being contented with what one has. Paraguayans very rarely drive
forward for an affair, they had to be motivated by extreme needs,
friends or social pressure. That is generaly speaking, of course
there are exceptions.
Barrios was always pushed by his friends. Pellegrini told him to
go abroad to pursue a career, his friends in Buenos Aires pushed
him to go to Montevideo, Pagola locked him in a room to write his
compositions. Those are just a few examples where Barrios needed
the motivation given by a friend to start something. That doesnt
mean that he didnt have confidence, thats just the idiosyncracy or
way of Paraguayans: to be happy with what they have. That most of
the people that pushed him werent Paraguayans makes this
clearer.
In August Barrios returned to Venezuela. He played some concerts
but didnt have the great success he had four years earlier. In 1938
he was in Havana, Cuba, where he wrote the Preludio Saudade which
he added to La Catedral.
After leaving Cuba, economic problems began. Barrios ran out of
work and money. They departed to Costa Rica, where a good friend
offered them the use of a home for about a year. He had reduced
concert activity during this period, probably due to health
problems.
In July of 1939 he departed to El Salvador, where he arranged
several concerts. Later he headed to Guatemala and Mexico. In
Mexico City he suffered a heart attack. Barrios was debilitated and
didnt have the same strength of youth.
He returned in 1940 to El Salvador. The President of El
Salvador, Maximiliano Hernandez Martinez, a great admirer of
Barrios appointed him Professor of Guitar at the National
Conservatory, presenting him with a check for 5000 colones. This
was almost an order, not an offer, from the President.
Barrios finally settled down, not in his homeland, but at least
in a place where he was loved and admired. He played some concerts
in towns of El Salvador, but he was mostly dedicated to teaching.
He later played concerts with his pupils.
Barrios in his later years
The Last Years
In March of 1944 Segovia visited San Salvador to play a concert.
The two masters met and spent several hours chatting in Segovias
hotel room. Not even a note was played, as Barrios was in bad
physical shape and Segovia felt a certain amount of pity for his
foe, as he was forgotten and poor in a relatively isolated country
and Segovia knew the fame and recognition that his talent
merited.
Fifteen years later Segovia would declare that Barrios was a man
who tried to destroy himself, but couldnt because he was such a
genius.
They had a polite and cordial meeting, where Segovia left
Barrios a set of gut strings as a gift.
In these later years the love Barrios had for the guitar didnt
cease, as he practiced four hours a day. In 1944 he was ill and
knew the end was near. He called for a priest and uttered his last
words: I do not fear the past, but I do not know if I can overcome
the mystery of the night.
One of the last pictures of Barrios
Surrounded by his friends and his wife, Barrios dies in August
7, 1944. The priest who attended him proclaimed: This is the first
time I have witnessed the death of a Saint.