These are derived from the moment the European waltz landed in Venezuela, around 1810–12. Lauro was a passionate nationalist, and the majority of his output was in the service of folk music and its identity as vals venezolanos. La Negra forms part of Triptico, a set of three pieces that were collected together for, and dedicated to, Andrés Segovia, and published in 1983. It was through Lauro’s guitar teacher, Raúl Borges (1888–1967), and his circle of students (especially Alirio Díaz), that Lauro’s music was disseminated internationally, cementing his reputation. However, in 1932, after witnessing Agustín Barrios perform in Caracas, Venezuela, Lauro focused his musical efforts on the guitar. Now considered among the foremost 20th century South American composers for the guitar, the Venezuelan Lauro began his musical studies on the piano and violin. This lesson will explore its polymeters and hemiolas, Romanticism, right-hand control, and left-hand stretching. La Negra, by Antonio Lauro (1917–1986), is a lyrical vals venezolano (Venezuelan waltz) composed in 1976. BY RHAYN JOOSTE | FROM THE SPRING 2018 ISSUE OF CLASSICAL GUITAR
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