Agustín Barrios - Mangoré: "La Catedral"

Although much of his life was spent in the twentieth century, the music of the Paraguayan guitarist and composer Agustín Pío Barrios (1885 - 1944) is identified with the musical period known as "late romanticism". Fairly "late", in my opinion. But, romantic indeed, an important part of his work shows a great influence from the folk music of South and Central America.

Born in Misiones, Paraguay, Agustín Pío Barrios took his first steps on music from his mother, who served as a teacher at the local girls' school. His seven brothers used to play some instrument and together formed the so-called Orquesta Barrios, of which he was part until the age of 13 when a compatriot, a renowned musician, introduced him to the repertoire of the classical guitar. Thus he came to know the work of Tárrega and Fernando Sor, among others.

In 1907 he made his first solo performance and the following year he was already known throughout Paraguay. Then the tours of South America (Argentina, Brazil, Chile and others) would come and, as a reward, the composer will be known as "the guitar magician". In the 1930s he will travel to Europe, thus achieving universal recognition as an excellent composer and guitarist. In 1932 he appeared in Brazil as Nitsuga (Agustin upside down) Mangoré (the name of a Guarani chieftain), the guitar Paganini, which led to him later being known worldwide as Agustín Barrios - Mangoré.

The work La Catedral is considered to be his pinnacle work. Composed around 1912, and according to some inspired by the religious music of Bach, it is made up of three movements, despite its brief extension: Prelude Saudade, Andante Religioso (1:26), and Allegro Solemne (3:17), the latter demanding a great technique. The work has become an unavoidable component of the universal repertoire for classical guitar.

The rendition is by the beautiful and superb Croatian guitarist Ana Vidovic.

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