Leo Brouwer's Works

Después de una larga trayectoria en el mundo del reggae, Carlos “Pitiman” Blázquez presenta “Iron bassman”. Esta colección de quince canciones es su proyecto más personal, y dibuja un disco de reggae sin fronteras. Ni estilísticas, ya que el disco mezcla estilos diferentes dentro del reggae (Lovers, Dub, Roots, Dancehall o New Roots), ni físicas, ya que, aunque el trabajo se grabó en Banyan Studios, ubicados en Port Antonio, la localidad jamaicana en la que Pitiman reside desde hace un lustro, en sus canciones se escuchan colaboraciones realizadas desde Jamaica Gasteiz, Santander o Barcelona. 

Carlos “Pitiman” Blázquez es un músico vinculado al reggae desde muy joven, habiendo tomado parte en multitud de bandas y colaborando con un gran número de artistas. Nacido en 1969, con sólo quince años fue uno de los miembros fundadores de Kannabis, su primera banda de Reggae. Su debut en directo, en abril de 1986, fue el pistoletazo de salida para su sólida andadura musical. 
Con Kannabis, además de tocar el bajo, colaboró en la creación de las canciones e hizo coros para, desde 1992, asumir el papel de cantante. La formación grabó dos maquetas y compartió escenario con artistas de la talla de Culture, Tippa Irie, Yassa o Yellowman. 
Tras la desaparición de Kannabis (banda con la que volvió a juntarse en 2011 para hacer un concierto de celebración del 25 aniversario del debut en Abetxuko y grabar un disco en directo de próxima aparición), “Pitiman” recaló en la banda de Ska y Reggae Potato en 1994, junto a otros antiguos componentes de Kannabis. Un año después grabó “Plántala”, con Potato, un trabajo producido por Derek “Demondo” Fevrier. Tras la gira de presentación en directo del disco, abandonó la formación para dar una nueva vuelta de tuerca a su trayectoria musical y personal. 
Su siguiente banda de Reggae fue Arawak, en la que recaló junto a Julen Trepiana y Okiman, ambos antiguos componentes de Potato, y viejos conocidos como Willy Granados. Tras un año de intenso trabajo, en 1997 la banda, en la actualidad llamada Gobeo Bay, grabó “Cuerpo a cuerpo”, un disco producido por “Demondo” Fevrier y grabado en Gasteiz. Con Arawak participó en festivales como U Zona Reggae y Reggae on the River, junto a artistas como 1996 Michael Prophet, Mikal Rose y Yabby You. Su segundo disco con Arawak fue “Sorterrira” (1999), grabado en los estudios Elkar íntegramente en euskera. 
En octubre de ese año “Pitiman” regresó a Potato para grabar, en la sala Bikini de Barcelona, el doble disco “Directo, directo”, al que le sucedieron dos años de conciertos para presentar aquel ambicioso trabajo, en el que tomaron parte muchos de los antiguos componentes de la longeva banda. 
En 2003 se graba el disco de Potato “Como en sueños”, en el cual colaboró en la producción musical, con tres aportaciones conjuntas y una individual. Poco después dejó la banda. 
Entre los años 2003 y 2005 entró a formar parte de Ambassah and Dub Generation, con Rober “Dubby Ambassah” y Roberto Sánchez a la cabeza, y colaboró con Will aka NANO B o Benjammin. Fueron años en los que, además de los conciertos, el bajista trabajó en sesiones realizadas en A-Lone Ark Muzik Studio. Un año más tarde se publicó “Oil & Water”, de Lone Ark, en el cual hay dos colaboraciones suyas. Además, en 2011, Ambassah presentó “2005-2011 Rub A Dub. Showcase part. II”, con una colaboración como bajista del músico gasteiztarra. 

Además del mencionado trabajo en Cueto (Cantabria), a finales de 2004 colaboró con Begoña Bang Matu en su disco “I am thinking about you”, grabado en los estudios 008 y producido por Timoteo “Jalas” Ozaeta. En dicho proyecto hizo los arreglos de algunas bases , los coros y realizó los primeros conciertos de presentación. 
Potato llamó a su puerta por tercera vez en 2006 para preparar la gira de despedida de 2007. “Pitiman” aportó el trabajo en la parte musical con vistas al show en directo y grabó un mini-CD con tres temas. En 2008 se embarcó en una gira por Alemania con Potato, que visitó ciudades como Berlin, Hamburgo o Bremen. 
Durante 2008 “Pitiman”, que ese mismo año dejaría Gasteiz para trasladarse a Port Antonio (Jamaica), formó parte de dos proyectos instrumentales que siguen vigentes en la actualidad. El primero de ellos, Siroko, es una banda de Ska fomada por antiguos compañeros de local y escenario como los hermanos Arrieta, Gustavo Salvador o Carlos “Carlos Roots” Moreno, y en cuyo reciente “Apetece que no es poco” colaboró. El segundo, Critical Riddim, hace versiones de Reggae y New Roots sobre medleys instrumentales, y está liderado por Willy Granados. 
Ese mismo año grabó, con Arawak, la demo de lo que posteriormente sería el disco “Alfa y Omega”, ya sin su presencia y con el nombre de Gobeo Bay. En esa grabación, “Pitiman” supo que había llegado el momento de hacer sus propias composiciones. También en 2008, y ya en Jamaica, comenzó a trabajar con otros músicos, que dieron pie a numerosos riddims que han desembocado en “Iron Bassman”. El primer Riddim, llamado “Drowse”, se publica con el nombre “Gimme Sensimina” y cantado por Sr. Wilson feat. Bobo Shanty en el disco “GoodMan Style” (2012) de Sr.Wilson. 

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After a long career in the world of the reggae, Carlos Blázquez "Pitiman" presents IRON BASSMAN, his first personal project with a collection of 15 songs which describe a reggae album without borders. 

The Album is neither stylistic considering that the album mixes different styles within of reggae music ( Lovers, Dub, Roots, Dancehall or New Roots), nor physical as the album counts on musicians’ collaboration from Jamaica, Vitoria-Gasteiz, Santander and Barcelona despite of being recorded in Banyan Studios located in Port Antonio, the Jamaican town where Pitiman lives a lustrum ago. 

Professional career of Carlos Blázquez "Pitiman" 

Carlos Blázquez "Pitiman" is a musician linked to the reggae since he was young and who has taken part in several music bands and collaborating with a big number of artists. 

Born in 1969, with only 15 years old, he was one of the founding members of Kannabis his first reggae band. His live and direct debut in April 1986, was the begining of his streng musical career. 

With Kannabis in addition to playing the bass guitar, he collaborated on musical creation and singing chorus. Then it was in 1992 when he took the role of singer. 

The band recorded two rough cut and shared stage with artist of the standing as "Culture", "Tippa Irie", "Yassa" or "Yellowman". 

After the disappearance of Kannabis (band which he joined again in 2011 to play the 25th Anniversary of the debut in Abetxuko, and recording a live and direct CD that is coming soon), Pitiman ended up in the Ska-Reggae Band Potato in 1994, with others old members of Kannabis. 

One year after, he recorded "Plántala" with Potato, a production by Derek "Demondo" Fevrier. After the promotion tour, Pitiman resigned the band to continue investigating new fields about reggae music and himself. 

His next reggae band was Arawak, in tandem with Julen Trepiana and Okiman, both of them old members of Potato and old musicians from Kannabis as Willy Granados. After one year of hard work in 1997 the band ( presently known as Gobeo Bay) recorded " Cuerpo a Cuerpo" produced by Derek " Demondo" Fevrier and recorded in Vitoria- Gasteiz. 

As member of Arawak, Pitiman played in Festivals as U Zona Reggae and Reggae on the River sharing stage with Michael Prophet, Mikal Rose and Yabbi You (1996). His second CD as Arawak was "Sorterrira" entirely recorded in Basque language. It was recorded in Elkar Studios in 1999. 

In October 1999 Pitiman came back to Potato to record at Bikini concert hall from Barcelona, the double CD "Directo, Directo" playing for the next 2 years that marvellous project together with old retired members of Potato. 

In 2003 Potato recorded a new CD "Como en Sueños" in which Pitiman collaborated in the musical production with four songs (One song on his own). 

After a short while Pitiman left the band. Between 2003 and 2005 was part of Ambassah and Dub Generation with Robert "Dubby Ambassah" and Roberto Sánchez at the head of the band and collaborated with Will Aka Nano B and Benjammin. 

During these years, in addition to playing in concerts the bass guitar, he also played in reggae sessions in A- lone Ark Muzik Studio. One year after "Oil and Water" was published by the band Lone Ark with Pitiman’s contribution in two songs. 

Later in 2011 Ambassah presented " 2005- 2011 Rub a Dub. showcase part II" with the collaboration of Pitiman at the Bass guitar. 

In addition to the mentioned work in Cueto (Spain), at the end of 2004 Pitiman cooperated with Begoña Bang-Matu in the albun " I am thinking about you" recorded in the 008 Studios and produced by Timoteo "Jalas" Ozaeta. 

In this project Pitiman made the arragements for some tracks, chorus and played the first promotional concerts. Potato called him back for the last time in 2006 to prepare the Good Bye Tour 2007. Pitiman contributed the musical assistance for the live and direct show and recorded a mini CD with 3 songs. In 2008 Pitiman made a tour with Potato in Germany playing concerts in Berlin, Hamburg and Bremen. 
Then in 2008 Pitiman left Gasteiz and moved to Jamaica, taking part that year on 2 instrumental projects which still continue alive. 

The first one is Siroko, a Ska band formed by old colleagues of practices and stages, such as the Arrieta Brothers, Gustavo Salvador and Carlos "Carlos Roots" Moreno and in which in the recently album "Apetece que no es poco" Pitiman also collaborated. 

The second one is Critical Riddim, playing Reggae and New Roots versions about instrumental medleys and Willy Granados at the head of the band. 

The same year recorded as Arawak a demo about the future CD "Alfa y Omega" without his presence and as Gobeo Bay. At that recording it was when he knew and realized that it was the time to start composing his own songs. 

In was then in 2008 and while living in Jamaica when Pitiman started to work with other musicians and IRON BASSMAN was created. 

The first riddim called Drowse was published as Gimme Sensimina and sung by Sr. Wilson Feat. Bobo Shanty in the CD "Goodman Style" (2012 of Sr. Wilson)

01 Iron Bassman (Garden riddim) Feat. Pitiman

L. Brouwer - An Idea -

John Martínez (singing) & Diego Summo (guitar)

INFO, CONTRATACIÓN Y PRENSA // INFO & BOOKING: legarconreve@gmail.com
Biografía
Tras la salida de su segundo y último disco, “A Silent Language” y la disolución del grupo, el núcleo compositivo de MEGAPHONE OU LA MORT, John Martínez (voz) y Diego Summo (guitarra), decide durante el verano del 2013 seguir adelante con un proyecto musical mucho más íntimo, el dúo se llama LE GARÇON RÊVÉ. Diego proviene del underground porteño y John del underground parisino. Juntos son LE GARÇON RÊVÉ, proyecto de canciones elegantes y poseídas, con el denominador común de la voz melancólica y tenebrosa de John sobre las estructuras y sutiles arreglos de guitarra armados por Diego. 

Este primer trabajo cuenta con la producción artística de Sergio Devece. El disco se compone de 10 canciones que incluyen varias colaboradores locales (Luis Alcober Aubán, Stéphanie Cadel, Carolina Otero, componentes de La Muñeca de Sal y el saxofonista José Luis Granados) y no locales (Marion Küchenmeister, Mario Ferreira, Nathan Mozes). 

Stained Heart

Blossoming Apathy

Published on Dec 14, 2016

Prelude and Fuge BWV 997 J. S. Bach - Performed and arranged by Jerry Willard - Guitar. This was recorded in Stowe Vermont, summer 2016. I'm playing a Francisco Fernandez guitar made in Madrid in 1960. I am using a capo on the first fret. Please visit my web page www.jerrywillard.com you can purchase this arrangement at https://www.amazon.com/Lute-Suites-Guitar-Classical/dp/0825699797/ref=sr_1_1?ie=UTF8&qid=1481808052&sr=8-1&keywords=jerry+willard+bach+lute+suites Thanks so much for listening.

Prelude & Fuge BWV 997 J S Bach

Mixes

Summer Sounds Vol. 2

Sax: Bora
  Gitar: Mesut
  Bass: Emsal 
  Davul: Mustafa
  
  Songs: 
  
  "Take Five" is a classic jazz piece first recorded by The Dave Brubeck Quartet and released on their 1959 album Time Out. It became the first million-selling jazz single on the Billboard Hot 100 charts in 1961, at a time when rock and roll was still in fashion.
  “Take Five” became Brubeck’s best known and signature tune, although it was composed by Paul Desmond, the group's saxophonist. It became famous for its distinctive, catchy saxophone melody and use of the unusual quintuple time, from which its name is derived. [1]The track also features Eugene Wright on bass and Joe Morello on drums.
  The original single was recorded at Columbia's 30th Street Studios in New York City on June 25, July 1 & August 18, 1959. Dave Brubeck and Steve Race wrote the liner notes for the album.[2]
  While "Take Five" was not the first jazz composition to use this meter, it was the first of United States mainstream significance.
  The song was recorded and broadcast many times by the Quartet, and has been recorded by scores of artists, from Swedish singer Monica Zetterlund in 1962 to a dub version by King Tubby in 2002. Some versions have included lyrics, including a 1961 recording with lyrics written by Dave Brubeck and his wife Iola, that was sung by Carmen McRae. The tune has also been included in countless movies and television soundtracks, and still receives significant radio play.
  Upon his death in 1977, Paul Desmond left his rights to royalties for performances and compositions, including "Take Five," to the American Red Cross. Since that time, the organization has received approximately $100,000 per year in combined royalties.
  
  
  Autumn Leaves
  “Autumn Leaves (Les Feuilles Mortes)” Yves Montand'ın Les Feuilles Mortes plağının kapağı
  Yves Montand şarkısı Kaydedildi 1945 Yazar Jacques Prévert (İngilizce sözler: Johnny Mercer) Besteci Joseph Kosma Cover versiyonları Stan Getz, Chet Baker, Diana Krall, Nat King Cole, Edith Piaf, Louis Armstrong, Paul Desmond, Barbra Streisand, Frank Sinatra, Oscar Peterson, Roger Williams, Mireille Mathieu, Eva Cassidy, Chick Corea, Miles Davis, Wynton Marsalis, Lale Belkıs 
  Autumn Leaves, defalarca kere yorumlanmış bir klasik pop ve caz şarkıdır. Orijinal hali, 1945 yılında yazılmış "Les Feuilles Mortes" (Türkçe: Ölü Yapraklar) adlı Fransızca bir şarkıdır. Fransızcadan İngilizceye çevirisini Johnny Mercer yapmıştır.
  Hem caz, hem de pop sanatçılarının ilgisini çekmesinin nedeni; parçanın her iki türe de uyum sağlayacak bir altyapıya sahip olmasındandır. Enstrümantal bir havada ilerlemesi ve sözlerinin derin anlamlar içermesi, parçayı birçok sanatçının gözünde değerli bir yere taşımıştır.
  Bestesini Joseph Kosma'nın yaptığı parçanın Fransızca sözlerini ünlü şair Jacques Prévert yazmıştır. Amerika'lı şarkı sözü yazarı Johnny Mercer de 1947 yılında şarkıya İngilizce sözler yazmıştı. Şarkı ilk kez 1946 yılında Marcel Carné'nin çektiği Les Portes de la Nuit filminde Yves Montand tarafından söylenince ünlü oldu. 1956 yılında ise ABD'de Robert Aldrich şarkı ile aynı adı taşıyan filmi çekti. Joan Crawford'un başrolünü oynadığı filmde ise şarkıyı Nat King Cole seslendiriyordu.
  
  
  Dünyaca ünlü şarkının bestecisi Consuelo Velázquez "Bésame Mucho" 1940 yılında Consuelo Velázquez'ın on altıncı doğum gününden önce yazdığı Meksika şarkısıdır.
  "Bésame mucho" kelimesi İngilizce "kiss me a lot" a karşılık gelmektedir. Velázquez, şarkıyı yazdığında henüz hiç öpüşmediğini, ayrıca 1916 yılında Enrique Granados tarafından seslendirilmiş olan "Quejas, o la Maja y el Ruiseñor" İspanyol Goyescas operasındaki aryadan esinlendiğini belirtmiştir.
  Emilio Tuero şarkıyı ilk plak yapan sanatçıdır. Parça, bir çok şarkıcının özellikle de Beatles'in albümünü süslemiştir. Beatles 1962 yılındaki tüm canlı konserlerinde de şarkıyı söylemiştir. Bésame Mucho, Beatles'in belgesel filmi Let It Be'de de yer almıştır.
  Bestelendiğinden bu yana parçaya veya melodisine Miami Vice, Season Three Episode, "Viking Bikers From Hell." gibi bir çok filmde rastlanmıştır.
  "Bésame Mucho"'nun başka dillere çevrilmiş "Kiss Me Much", "Kiss Me a Lot", "Kiss Me Again and Again", "Embrasse-Moi", "Stale Ma Bozkavaj" and "Szeretlek én" gibi karşılıkları mevcuttur.
  
  
  Black Orpheus (Portuguese: Orfeu Negro) is a 1959 film made in Brazil by French director Marcel Camus. It is based on the play Orfeu da Conceição by Vinicius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice, setting it in the modern context of a favela in Rio de Janeiro during the Carnaval. The film was an international co-production between production companies in Brazil, France and Italy.
  The film is particularly renowned for its soundtrack by bossa nova legend Antonio Carlos Jobim, featuring songs such as "Manhã de Carnaval" (written by Luiz Bonfá) and "A felicidade" that were to become bossa nova classics. According to Time magazine, it played a crucial role in the life of Ann Dunham, the mother of American president Barack Obama.[1]
  Black Orpheus won the Palme d'Or at the 1959 Cannes Film Festival[2] as well as the 1960 Academy Award for Best Foreign Language Film and the 1960 Golden Globe for Best Foreign Film (in those awards the film was credited as a French production; only in the 1961 BAFTA Award for Best Foreign Language Film was Brazil credited together with France and Italy).
  Large tracks of the film were shot in the Morro da Babilônia, a favela in the Leme neighbourhood of Rio de Janeiro.[3][4] In 1999, the film was essentially remade as Orfeu by Carlos Diegues, this time with a soundtrack featuring Brazilian singer-songwriter Caetano Veloso.
  
  "All of Me" is a popular song and jazz standard written by Gerald Marks and Seymour Simons in 1931.
  First recorded by Belle Baker, it has become one of the most recorded songs of its era, with notable versions by Billie Holiday, Louis Armstrong, Mildred Bailey, Benny Goodman, Teddy Wilson, Billie Holiday in 1941, Ella Fitzgerald, Dean Martin, Frank Sinatra, Django Reinhardt and Willie Nelson. In an episode of the 1970s television show Sanford and Son, Redd Foxx (joined by Scatman Crothers on guitar) sings a short but memorable version. In more recent years it has been recorded by Pia Zadora, Anne Murray and Jason Danieley. Also, a Punk rock rendition of the song was recorded by NOFX. The song was a major hit on records by Paul Whiteman and Louis Armstrong in 1932, and was successfully revived by Johnnie Ray in 1952. Chelsea Krombach performed the song for her debut album Look for the Silver Lining.Laurence Juber has also performed and recorded this song in an all acoustic version played by him. It was featured in his album PCH in 2007.
  

Autumn leaves Joseph Kosma

Besame mucho Consuelo Velázquez

Antonio Lauro (August 3, 1917 – April 18, 1986) was a Venezuelan musician, considered to be one of the foremost South American composers for the Guitar in the 20th century.

Biography

Antonio Lauro was born in Ciudad Bolívar, Venezuela. His father, an Italian immigrant, was a barber who could sing and play the guitar so he taught his son what he could, but died when Antonio was still a child. After the family moved to Caracas, Lauro pursued formal musical study (piano, composition) at the Academia de Música y Declamación, where the distinguished composer Vicente Emilio Sojo (1887–1974) was one of his teachers. A 1932 concert performed in Caracas by Agustín Barrios, the legendary Paraguayan guitarist and composer, so much impressed the young Lauro (already an accomplished folk guitarist) that he was persuaded to abandon piano and violin in favor of the guitar. From 1933, Lauro studied with Raúl Borges (1888–1967), and was introduced to the traditional classical guitar repertoire. In the next decade, Borges' pupils would also include Rodrigo Riera, José Rafael Cisneros, and Alirio Díaz. These colleagues, especially Díaz, were later responsible for unveiling Lauro's works to an astonished international audience, introducing these unheard works to the likes of Andrés Segovia and John Williams.

Like many South Americans of his generation, Lauro was a fervent cultural nationalist, determined to rescue and celebrate his nation's musical heritage. As a member of the Trio Cantores del Trópico in 1935-1943 (Lauro sang bass and played both guitar and cuatro), he toured nearby countries to introduce them to Venezuelan music. Lauro was particularly attracted to the myriad colonial parlour valses venezolanos (Venezuelan waltzes) created in the previous century by accomplished national composers such as Ramón Delgado Palacios (1867–1902). Unfailingly melodic, alternately wistful and brilliant, and characterized by a distinctive syncopation (created by a hemiola in which two measures of 3/4 become a single measure of 3/2), such music was precisely the sort of folkloric raw material which the likes of Smetana, Bartók or Granados had elevated to the category of national art in Europe.

A concert whose programme consisted entirely of such valses venezolanos (Venezuelan waltzes) by the distinguished Venezuelan pianist Evencio Castellanos (1914–1984) convinced Lauro that the guitar, too, should have comparable pieces in its repertory. Among his first efforts in this genre were the pieces later known as Tatiana, Andreína, and Natalia, composed sometime between 1938 and 1940; their instant popularity inspired still others. In addition to his guitar pieces, Lauro composed dozens of works for orchestra, choir, piano and voice; many of which remain unpublished. He occasionally experimented with modern compositional techniques, but most of his guitar music remains essentially on the Calle Real or "main street," an expression used by musicians of Lauro's generation to refer to a straight and direct route, without distracting harmonic detours.

In 1951-1952, the military junta of General Marcos Pérez Jiménez imprisoned Lauro for his principled belief in democracy. Lauro later shrugged off the experience, telling his friends that prison was a normal part of life for the Venezuelan man of his generation. He had continued composing even in prison, and after his release immediately returned to performing with a pioneering professional classical guitar trio, the freshly formed “Trio Raúl Borges”. In the following decades Lauro's compositions were published, recorded, and performed throughout the world, and his contributions to his nation's musical life were recognized and acknowledged everywhere. Lauro was appointed professor of guitar at several distinguished schools including the Juan José Landaeta Conservatory, and was named president of the Venezuela Symphony Orchestra. In spite of his modest insistence that he was a composer rather than a performer, he was persuaded by his friends to embark upon a solo concert tour which began in Venezuela and culminated in a triumphant 1980 performance at London's Wigmore Hall. Shortly before his death at Caracas in 1986, he was presented with the Premio Nacional de Música, his country's highest artistic award.
Popular Works

Seis por derecho: a joropo, subtitled "al estilo del arpa venezolana" ("in the style of the Venezuelan harp"), is an extraordinary version of this energetic regional dance. Like the vals venezolano, the joropo makes extensive use of a hemiola, in this case an alternation of 6/8 and ¾. The title of this work comes from the llaneros (inhabitants of the Venezuelan llanos or plains) who approved of its insistent rhythm (6/8 = seis), thus giving it the right (derecho) to be so named. The next four pieces were classic valses venezolanos (Venezuelan waltzes): María Carolina (file info...), unpublished until 1983, named after the composer's first granddaughter. El Marabino refers to a native of Maracaibo (a more common term is maracucho), an important city where Lauro himself lived for a time. Lauro once told his pupil Luis Zea that he had named a new composition María Luisa after his wife, and that the piece was as difficult as she was – a comment which later caused Señora Lauro to burst into laughter. In fact, it is a very romantic work, the second section of which was inspired by Chopin's Waltz in A flat, Op. 69, No. 1. Angostura is the ancient name for Ciudad Bolívar, Lauro's birthplace.

Lauro wrote the impressive Suite Venezolana, consisting of Registro (Prelude), Danza Negra, Canción, and Vals, during his imprisonment in 1951-52. The curiously named first movement, Registro, refers to the sort of improvising (registrar) a musician might do to warm up his hands or to explore a new or unfamiliar instrument; it is therefore equivalent to the Italian term ricercare as it was used originally used in the Renaissance. Lauro used the identical title for the first movement of his Suite para piano. The Danza negra is a very difficult piece, frequently selected as the main or final challenge in international guitar contests, demanding not only a mature technique but a solid command of intricate Venezuelan rhythms as well. It is mainly an Afro-Venezuelan dance which quotes a Venezuelan folksong named San Pedro; another popular tune, La Tumba, is quoted in both of the last two movements, a typical canción de serenata (serenade song) and a vals. In 1971 Lauro wrote the waltz El Niño, dedicated to his eldest son, Leonardo.

The first three of the Cuatro Valses Venezolanos (Four Venezuelan Waltzes) were composed in Ecuador in 1938-40 while Lauro was touring there with the Trio Cantores del Trópico; years later, after the pieces had been published, Lauro decided to name them after his niece Tatiana, her sister Andreína, and his own daughter Natalia, respectively. The last is by far Lauro's most famous work, commonly known as Vals criollo (the title under which it was recorded by Andrés Segovia), or as Vals No.3 (the title under which it was published in 1963). The fourth waltz, Yacambú, is in rondo form having curious chromaticisms and unexpected harmonies; it was named after a picturesque mountainous area of western Venezuela.

El Negrito (referring to Lauro's youngest son Luis Augusto) and La Gatica (the kitten, a nickname for his wife) were published together in 1984; they were intended to be played as a pair. Lauro's Tríptico consists of three pieces in e minor which the composer collected together to comply with a request from Andrés Segovia. The first of these, Armida, is a contemplative song named after the composer's sister. Madrugada ("before dawn") is an appoggiatura study inspired by one of Sojo's few original works for guitar. Lauro composed this piece in 1974, shortly after the death of his beloved maestro. La Negra was the nickname of Lauro's niece Armida, the daughter of his sister of the same name; this little waltz was composed in August, 1976.

Lauro's Variaciones sobre una canción infantil [venezolana] carries the dedication "Homage to the guitarists of the XIX Century;" that is, to Sor, Giuliani, Carcassi, and the others of their generation who loved the theme and variations form. The first half of the melody is the children's song Palomita Sentada, but the second half is original to Lauro, who found the little tune too brief to be developed successfully. Carora became a favorite of guitar virtuoso Alirio Díaz; when Lauro invited him to title the piece, Díaz chose the name of his home town (and that of his friend and fellow guitarist, Rodrigo Riera), a city in Lara state, in western Venezuela.
Legacy

The works of Antonio Lauro have long been very popular with guitarists worldwide, yet there have been few recordings devoted exclusively to him. However, several recordings by John Williams and David Russell have set Lauro's fame in the honorific place he deserves. John Williams is quoted as having justly referred to Antonio Lauro as being the "Strauss of the guitar". Another recording worth mentioning, "A Tribute to Antonio Lauro" by Thomas Cronin (guitarist), recorded initially for Irish National Radio on the RTE label, gained great appeal with Venezuelans worldwide.

Bibliography

    Elliot, Paul Frank: The Venezuelan Waltzes of Antonio Lauro - Thesis/dissertation/manuscript (1994). OCLC: 35822159

    (Spanish) Alejandro Bruzual: Antonio Lauro - Publisher: FUNDARTE, Caracas (1998) ISBN 980-253-338-6 OCLC: 43905994

    (Spanish) Alejandro Bruzual: Antonio Lauro, Un Músico Total: Su Época, Su Vida y Su Obra - Ensayo Biografico - Publ. CVG Siderúrgica del Orinoco, Caracas (1995). OCLC: 43468475

    Daniel Oliver Smith: Notes on graduate guitar recital 5/91 - Thesis/dissertation/manuscript (1991). OCLC: 25978521

    (Spanish) Alirio Díaz; Vicente Emilio Sojo; Antonio Lauro; Benito Canónico; Agustín Barrios: Solos de guitarra - Publ. Grabaciones Espiral, Caracas [undated] OCLC: 48358423

    Rick Laezman: 100 Hispanic Americans who changed American history - Publ. World Almanac Library, Milwaukee, WI (2005) ISBN 0-8368-5769-0 OCLC: 57142327

    Cesar Alegre: Extraordinary Hispanic Americans - Publ. Children's Press, New York (2006) ISBN 0-516-25343-3 OCLC: 62330607

A.Lauro - Valse ''Andreina'', played by N.Koshelev

Florencia Croci is a guitarist, songwriter and singer, born in the city of Rosario and a very young began his musical career, focusing on the guitar and singing. 
Formed groups of their own as Changing Habit (rock), The Sisters (music & theater), the last chord (swing, milongas and bossa), La Nena Brava Quarter (tango), The Wrapping (candombe rock), Trival Zoe (Latin American repertoire) Rosario Guateque (original songs and Latin American repertoire) and now Flor de banda (rock). 
He also participated as guest of bands such as: Stocks, The Vandals, Killer Burritos or as a session of Vandera, Reuben Bussi, Tahildo Tomas, Vanito Caballero, L. Paul currently Brediche and Granados. 
Flor de banda: born in August 2010, recording her record material in December of that year in the studios "The color of the mind", the disk contains ten compositions of Florencia and a song by Cuban composer Alejandro Gutierrez, a member of Havana Open .

members 
Florencia Croci (guitar and vocals) 
Juan José Flores (bass and vocals) 
Diego Picech (drums) 
Gonzalo Marckman (percussion and vocals) 
Bruno Arcánfora Greco (keys)

Café Berlín - Flor de banda (written and composed by Descemer Bueno)

poetry  [ poh-i-tree ] :

the art of rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative, or elevated thoughts.
literary work in metrical form; verse.
prose with poetic qualities.
poetic qualities however manifested:
the poetry of simple acts and things.
poetic spirit or feeling:
The pianist played the prelude with poetry.
something suggestive of or likened to poetry:
the pure poetry of a beautiful view on a clear day.

Sweet Steve (ft kitboga)

L. Brouwer - Fugue n°1

L. Brouwer - Paysaje Cubano con campanas

Guitarist, composer, performer, producer, Lucas Maiorani is a Franco-Italian guitarist.
Trained at the Haute École de Musique in Lausanne with Dagoberto Linhares then at the Royal Conservatory of Liège with Adrien Brogna and Hughes Kolp, he obtained a Masters in interpretation and pedagogy. The many opportunities for representation in France, Switzerland, Belgium, Croatia, Spain, Portugal, Italy, Russia, give him a great experience of the stage.
On the wise advice of great masters like Roland Dyens, Rolf Lislevand or Scott Tennant, Lucas Maiorani develops a very musical, contrasting game; looking for various and colorful stamps. His audience describes him as a passionate and touching musician.
“An audience captivated by the harmony and the sharing of great musical emotions tinged with rich Latin, Brazilian and Iberian musical accents. »Le bien public (08/17/11)
His taste for chamber music has led him to work in numerous projects such as the opera by Hans Werner Henze: El Cimarrón, with Barna Cserháti, Catherine Goederman and Jonas Burton; or the guitar octet Dagoberto Linhares in adaptations by Praetorius, Ravel, Piazzola, Bernstein…
In 2020, his first solo album “  Guitarra Sudamericana ” is released, dedicated to Latin American compositions, as well as “ Django Project ” dedicated to guitarist Django Reinhardt in collaboration with Guillaume Lepoutre.
He founded the CBArts Productions Label which produces emerging artists with various influences.

https://lucasmaiorani.com

L. Brouwer - An Idea -

Lucas Maiorani - Guitar

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