557658bk USA

6/1/06

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Page 5

grace. Once everyone has arrived, musicians lift the

general mood, while coffee and drinks are provided, to
revive the afflicted spirits of friends and relatives. At
midnight the godmother takes the little coffin in her
arms and dances to the beat of the music. After a few
minutes she gives the coffin to the godfather, who ends
his godchilds farewell with zapateos (a traditional

Argentinian dance for men only). From that moment on,

all the guests join the dance, singing and drinking. At
dawn the burial takes place. People intone typical songs
of the region and do so without shedding tears, for they
would wet the wings of the little angel, impeding its
ascent to heaven.
Marcelo Coronel

Victor Villadangos
Born in Buenos Aires, Vctor Villadangos graduated as Profesor Superior de Guitarra from
the Conservatorio Juan Jos Castro as a student of Mara Herminia Antola de Gmez
Crespo. Since 1980, he has performed extensively, both as a soloist and in chamber music
ensembles, in all the major concert halls and theatres of Buenos Aires and more than a
hundred different cities in the interior of Argentina with prominent musical organizations.
Abroad he has been featured in concert throughout Europe, in North and South America,
Israel and Japan. He has made a number of solo recordings and collaborated on other
releases of classical and popular music. Since 1990 he has given master-classes throughout
Argentina and abroad, and is professor of guitar at the Conservatorio Juan Jos Castro and Conservatorio Manuel de
Falla de Buenos Aires. His achievements have brought him the award of the Diploma al Mrito from the Fundacin
KONEX for his artistic work over the last decade.

GUITAR MUSIC
OF ARGENTINA
Mximo Pujol Quique Sinesi
Marcelo Coronel Pepe Ferrer
Julio Santilln Carlos Guastavino
Victor Villadangos, Guitar

8.557658

8.557658

557658bk USA

6/1/06

8:16 pm

Page 2

Guitar Music of Argentina 2

Throughout its recent history, South America has
received successive currents of immigration. These,
added to the native populations, have resulted in an
ethnically diverse population, with a culture as rich as it
is varied. The native inhabitants of these lands since
ancient times, the Spanish and Portuguese conquistadors
in the sixteenth century, the African slaves in the
seventeenth, and Italian, French and other European
colonists in the eighteenth and nineteenth centuries have
all contributed to this their own customs, languages,
religions, and, of course, their music. The works here
included are an expression of the diversity of genres
extant in the Republic of Argentina, not folk-music, but
reflections of a unity in cultural diversity.
Victor Villadangos
1 Quique Sinesi (b. 1960): Sonidos de aquel da
(Sounds From That Day)
As with Contramarea, Sonidos de aquel da is inspired
by the rhythm of the milonga orillera, which is faster
and more cheerful than the milonga surea. The central
part is by Villadangos, developing the rhythmic and
melodic elements of the original work.
2 Contramarea (Opposing Tide)
Quique Sinesis Contramarea was originally entitled
Contra viento y marea (Against Wind and Tide), but the
name was changed for legal reasons, owing to the prior
existence of another work with the same title. The piece
has jazz influenced harmonies, and the inspired rhythm
of the milonga can be detected.
3 Cielo abierto (Open Sky)
Cielo abierto uses the candombe rhythm, developed
over a bass ostinato. The structure is similar to a rondo,
with alternating sections of melodic variations then
returning to the primary idea of the ostinato. The
innovative aspect of the piece is in the use of percussive
techniques on the guitar.

8.557658

4 Carlos Moscardini (b. 1959): Doa Carmen

Written in a criollo waltz rhythm, Doa Carmen is a

reminiscence of the composers grandmother, taken
from his childhood memories of the patio of his
mothers house.
Mximo Pujol (b. 1957): Elega por la muerte de un
tanguero (Elegy for the Death of a Tango Player)
Elega por la muerte de un tanguero, dedicated to
Victor Villadangos, is an expression of profound
admiration for the music of Astor Piazzolla, homage to
the bandoneon player and composer born in 1921. As a
creative device, Mximo Pujol uses a succession of
three sounds extracted from Adios Nonino and using
serial techniques, inverted and mirrored, achieves a
synthesis between his own musical language and that of
Piazzolla.
5 Confuseta: Confuseta (alluding to confusion)
presents in the first section the use of canonic imitative
counterpoint, using the aforementioned pattern of three
sounds. The second slower section continues the idea of
a cantabile melody, supported by low and elongated
sounds.
6 En Melancola: En Melancola (In Melancholy)
suggests a rainy autumn afternoon, as seen through the
window of an imaginary room in a Buenos Aires
neighbourhood, culminating with a succession of
impetuous and dramatic chords.
7 Eplogo: Eplogo (Epilogue) applies Piazzollas style
to the guitar, with knowledge of the instruments real
potential. It takes again the idea of the three
inspirational sounds from Adios Nonino, alternating the
tempi. Various rhythmic effects (golpes or strikes,
chasquidos or cracks, and so on) are used, until the
La muerte de un angel
coda, where Piazollas
(Death of an Angel) is cited, culminating in an explosive
Bartkian pizzicato.

8-9 Sergio Natali (b. 1964):

Mate dulce mate caliente (Sweet Mat Hot Mat)
El arte de cebar (The Art of Serving Mat) lends its
name to a series of four paintings accompanied by
poetic prose about mate, the traditional herbal drink that
is shared in a circle with friends in Argentina and other
South American countries. The texture that
distinguishes the paintings and the constant reference to
the meaning of the prose, motivated the composer to
follow the game of synesthesia, this time with sound.
That is how these pieces for guitar emerged, presenting
a small motif from the beginning that insistently repeats
itself, an allusion to the ritual of passing the mate around
the circle. Of the two mates offered in this recording,
mate dulce (sweet mat) brings out the melodic element,
while mate caliente (hot mat) has a more rhythmic
character.
0 Victor Villadangos (b. 1958): Hora libre

Hora libre was composed during a class period from

which a student was absent at the conservatory where
Victor Villadangos teaches. Through a fresh and simple
melody, he seeks to suggest a feeling of creative joy.
! Tucutut
Tucutut is the onomatopoeic sound of the opening
rhythm of the piece, which explores the different
percussive effects of the guitar and the combination of
melody and percussion played simultaneously by both
hands independently.
@ Pepe Ferrer (b. 1958): El Felipe

El Felipe is based on the form and character of the

Argentinian dance, the Gato (cat), originating from the
province of Santiago del Estero. As with other
Argentinian folk rhythms, it uses accents that result
from the superimposition of 6/8 and 3/4 measures. This
is the story of an anxious and curious cat named Felipe,
a veteran of battles for the love interests of the female
cats in the neighbourhood.

& Julio Santilln (b. 1974):

Estudio n 4 Mal ando (Badly Off)
The title Mal ando is a play on words that evokes the
rhythm of the malambo, using the rhythm of the title
mal ando or ando mal (badly off) for that of
malambo. It includes two contrasting sections: one very
rhythmic, using the rasgueo (traditional folk strumming
or imitation of certain percussion instruments) and the
other with more counterpoint and unexpected
modulations.
*-) Carlos Guastavino (1912-2000):
Sonata n 3 (1973)
In 1989, Victor Villadangos gave the premire of Carlos
Guastavinos third and last sonata, after having agreed
upon the phrasing, articulations, tempo and interpretation
with the composer. Dedicated to the guitarist Horacio
Ceballos, the work is written in the traditional sonata
form in three movements. The first movement, Allegro
preciso e ritmico, has the original feature of changing
from minor to major with different harmonic
combinations using the 9/8 rhythm, so typical of
Argentinian folk-music. Guastavino himself defined the
rhythmic figure used in both themes as the counterrhythm, containing the customary figures of Argentinian
folk-music, but in a different order. The Adagio has a
beautiful melody that evokes a certain reflective climate
with a deep lyricism provided by a poetic dialogue,
recalling some of the works of the legendary Spanish
guitarist and composer, Antonio Jimnez Manjn. The
final Allegro is the essence of deep criollo feeling. It
begins with impetuous rasgueos, passes through troubled
and swift rhythmic combinations until reaching a moment
of respite, serving as a brief interval. After this comes the
recapitulation of the principal theme with harmonic and
melodic variations, enriched by the central part, until
concluding with the initial rasgueos, this time in a minor
key in order to create tension and to connect with the
tonic in the major key.
Diego Orellana

8.557658

Marcelo Coronel (b. 1962): Imaginario popular

argentino: centro y noroeste (Popular Argentinian
Legends)
# I: Pachamama
Pachamama is the principal deity of the native people of
Bolivia, Peru and the Argentinian Northwest. She is
identified with the earth and all of nature is her temple.
To pay homage to her, locals and travellers erect small
mounds of stones, called apachetas, by the roadside.
There they make their requests and leave humble
offerings for her. She intervenes in all aspects of life,
and her protection is called upon for a good harvest, for
the propagation of the herd, to relieve cold spells and
plagues, to bring luck to the hunt, to prevent altitude
sickness on journeys, and for other needs. In some
regions of Salta it is believed that the Pachamama is an
ancient Indian woman, who watches over all valleydwellers and keeps guard over the treasures of the
ancients.
$ II: La Salamanca
La Salamanca is a place, generally a pit or distant cave
in the forest, devoted to the cult of the Devil (also called
Zupay or El Malo). Those who go there do so to request
diverse powers or abilities, like the skill to play musical
instruments or to sing, to be irresistible in love or
invincible in fighting. The women that gather there do so,
in general, to learn witchcraft. As the price for obtaining
such gifts, all must hand their souls over to the Devil. La
Salamanca draws attention to its presence with the
joyful music that emanates from it, attracting whoever
passes by. At the entrance there are usually religious
symbols that must be desecrated as a sign that one has
rebelled against God. To enter, one must undress and
withstand a siege of repulsive creatures (enormous
toads, bats and serpents). If the visitor cannot keep
control of himself, he dies. On the other hand, if he does,
he remains unharmed and enters an enclosure where men
and women surrender themselves to all types of carnal
pleasures and participates in them until the first

cockcrow, the moment in which he leaves, bestowed with

supernatural powers in exchange for his soul.
% III: Coquena

In the Argentinian provinces of Salta and Jujuy there

lives a goblin named Coquena, who is considered to be
the divine protector of animals. He is described as a
dwarf with indigenous features, dressed as a shepherd.
Coquena watches over the herds that graze in the hills,
striving to remain unseen by man. To meet him is
considered a bad omen. It is believed that when animals
are seen moving without anyone driving them, it is
Coquena who is leading them to better pastures. He
always chews coca leaves and wanders about the hills
whistling and playing his flute made of condor bones.
At night he leads herds with gold and silver towards the
Bolivian Potos Mountain so that its wealth is never
depleted. It is said that he can be very generous with
good shepherds, but he punishes mercilessly all those
who prey on the vicuas and guanacos with firearms or
travellers who place over-heavy burdens on their llamas.
^ V: Velando al angelito (Holding a Wake for the
Little Angel)
In the interior of the country, especially in the North and
Northwest, it is believed that children who die before
the age of seven are pure beings, since they have not had
time to be tainted by human misery. For that reason they
are considered to be angels who go directly to heaven, in
contrast to adults, who after death must pass through
purgatory. When a child dies, the parents celebrate with
a party to pay homage to the child, bringing together
relatives and neighbours. The godmother sees to the
preparation of the body of the little angel: a sheet
hanging from the ceiling represents heaven and the little
coffin (placed above the table) is adorned with paper
flowers. A cord is tied to the little ones waist so that
when the godmother dies and finds herself in purgatory
she can grasp it to rise to heaven. Another cord is placed
around the box for those who attend the wake to tie
knots in it and then ask the little angel to give them

8.557658

557658bk USA

6/1/06

8:16 pm

Page 2

Guitar Music of Argentina 2

Throughout its recent history, South America has
received successive currents of immigration. These,
added to the native populations, have resulted in an
ethnically diverse population, with a culture as rich as it
is varied. The native inhabitants of these lands since
ancient times, the Spanish and Portuguese conquistadors
in the sixteenth century, the African slaves in the
seventeenth, and Italian, French and other European
colonists in the eighteenth and nineteenth centuries have
all contributed to this their own customs, languages,
religions, and, of course, their music. The works here
included are an expression of the diversity of genres
extant in the Republic of Argentina, not folk-music, but
reflections of a unity in cultural diversity.
Victor Villadangos
1 Quique Sinesi (b. 1960): Sonidos de aquel da
(Sounds From That Day)
As with Contramarea, Sonidos de aquel da is inspired
by the rhythm of the milonga orillera, which is faster
and more cheerful than the milonga surea. The central
part is by Villadangos, developing the rhythmic and
melodic elements of the original work.
2 Contramarea (Opposing Tide)
Quique Sinesis Contramarea was originally entitled
Contra viento y marea (Against Wind and Tide), but the
name was changed for legal reasons, owing to the prior
existence of another work with the same title. The piece
has jazz influenced harmonies, and the inspired rhythm
of the milonga can be detected.
3 Cielo abierto (Open Sky)
Cielo abierto uses the candombe rhythm, developed
over a bass ostinato. The structure is similar to a rondo,
with alternating sections of melodic variations then
returning to the primary idea of the ostinato. The
innovative aspect of the piece is in the use of percussive
techniques on the guitar.

8.557658

4 Carlos Moscardini (b. 1959): Doa Carmen

Written in a criollo waltz rhythm, Doa Carmen is a

reminiscence of the composers grandmother, taken
from his childhood memories of the patio of his
mothers house.
Mximo Pujol (b. 1957): Elega por la muerte de un
tanguero (Elegy for the Death of a Tango Player)
Elega por la muerte de un tanguero, dedicated to
Victor Villadangos, is an expression of profound
admiration for the music of Astor Piazzolla, homage to
the bandoneon player and composer born in 1921. As a
creative device, Mximo Pujol uses a succession of
three sounds extracted from Adios Nonino and using
serial techniques, inverted and mirrored, achieves a
synthesis between his own musical language and that of
Piazzolla.
5 Confuseta: Confuseta (alluding to confusion)
presents in the first section the use of canonic imitative
counterpoint, using the aforementioned pattern of three
sounds. The second slower section continues the idea of
a cantabile melody, supported by low and elongated
sounds.
6 En Melancola: En Melancola (In Melancholy)
suggests a rainy autumn afternoon, as seen through the
window of an imaginary room in a Buenos Aires
neighbourhood, culminating with a succession of
impetuous and dramatic chords.
7 Eplogo: Eplogo (Epilogue) applies Piazzollas style
to the guitar, with knowledge of the instruments real
potential. It takes again the idea of the three
inspirational sounds from Adios Nonino, alternating the
tempi. Various rhythmic effects (golpes or strikes,
chasquidos or cracks, and so on) are used, until the
La muerte de un angel
coda, where Piazollas
(Death of an Angel) is cited, culminating in an explosive
Bartkian pizzicato.

8-9 Sergio Natali (b. 1964):

Mate dulce mate caliente (Sweet Mat Hot Mat)
El arte de cebar (The Art of Serving Mat) lends its
name to a series of four paintings accompanied by
poetic prose about mate, the traditional herbal drink that
is shared in a circle with friends in Argentina and other
South American countries. The texture that
distinguishes the paintings and the constant reference to
the meaning of the prose, motivated the composer to
follow the game of synesthesia, this time with sound.
That is how these pieces for guitar emerged, presenting
a small motif from the beginning that insistently repeats
itself, an allusion to the ritual of passing the mate around
the circle. Of the two mates offered in this recording,
mate dulce (sweet mat) brings out the melodic element,
while mate caliente (hot mat) has a more rhythmic
character.
0 Victor Villadangos (b. 1958): Hora libre

Hora libre was composed during a class period from

which a student was absent at the conservatory where
Victor Villadangos teaches. Through a fresh and simple
melody, he seeks to suggest a feeling of creative joy.
! Tucutut
Tucutut is the onomatopoeic sound of the opening
rhythm of the piece, which explores the different
percussive effects of the guitar and the combination of
melody and percussion played simultaneously by both
hands independently.
@ Pepe Ferrer (b. 1958): El Felipe

El Felipe is based on the form and character of the

Argentinian dance, the Gato (cat), originating from the
province of Santiago del Estero. As with other
Argentinian folk rhythms, it uses accents that result
from the superimposition of 6/8 and 3/4 measures. This
is the story of an anxious and curious cat named Felipe,
a veteran of battles for the love interests of the female
cats in the neighbourhood.

& Julio Santilln (b. 1974):

Estudio n 4 Mal ando (Badly Off)
The title Mal ando is a play on words that evokes the
rhythm of the malambo, using the rhythm of the title
mal ando or ando mal (badly off) for that of
malambo. It includes two contrasting sections: one very
rhythmic, using the rasgueo (traditional folk strumming
or imitation of certain percussion instruments) and the
other with more counterpoint and unexpected
modulations.
*-) Carlos Guastavino (1912-2000):
Sonata n 3 (1973)
In 1989, Victor Villadangos gave the premire of Carlos
Guastavinos third and last sonata, after having agreed
upon the phrasing, articulations, tempo and interpretation
with the composer. Dedicated to the guitarist Horacio
Ceballos, the work is written in the traditional sonata
form in three movements. The first movement, Allegro
preciso e ritmico, has the original feature of changing
from minor to major with different harmonic
combinations using the 9/8 rhythm, so typical of
Argentinian folk-music. Guastavino himself defined the
rhythmic figure used in both themes as the counterrhythm, containing the customary figures of Argentinian
folk-music, but in a different order. The Adagio has a
beautiful melody that evokes a certain reflective climate
with a deep lyricism provided by a poetic dialogue,
recalling some of the works of the legendary Spanish
guitarist and composer, Antonio Jimnez Manjn. The
final Allegro is the essence of deep criollo feeling. It
begins with impetuous rasgueos, passes through troubled
and swift rhythmic combinations until reaching a moment
of respite, serving as a brief interval. After this comes the
recapitulation of the principal theme with harmonic and
melodic variations, enriched by the central part, until
concluding with the initial rasgueos, this time in a minor
key in order to create tension and to connect with the
tonic in the major key.
Diego Orellana

8.557658

Marcelo Coronel (b. 1962): Imaginario popular

argentino: centro y noroeste (Popular Argentinian
Legends)
# I: Pachamama
Pachamama is the principal deity of the native people of
Bolivia, Peru and the Argentinian Northwest. She is
identified with the earth and all of nature is her temple.
To pay homage to her, locals and travellers erect small
mounds of stones, called apachetas, by the roadside.
There they make their requests and leave humble
offerings for her. She intervenes in all aspects of life,
and her protection is called upon for a good harvest, for
the propagation of the herd, to relieve cold spells and
plagues, to bring luck to the hunt, to prevent altitude
sickness on journeys, and for other needs. In some
regions of Salta it is believed that the Pachamama is an
ancient Indian woman, who watches over all valleydwellers and keeps guard over the treasures of the
ancients.
$ II: La Salamanca
La Salamanca is a place, generally a pit or distant cave
in the forest, devoted to the cult of the Devil (also called
Zupay or El Malo). Those who go there do so to request
diverse powers or abilities, like the skill to play musical
instruments or to sing, to be irresistible in love or
invincible in fighting. The women that gather there do so,
in general, to learn witchcraft. As the price for obtaining
such gifts, all must hand their souls over to the Devil. La
Salamanca draws attention to its presence with the
joyful music that emanates from it, attracting whoever
passes by. At the entrance there are usually religious
symbols that must be desecrated as a sign that one has
rebelled against God. To enter, one must undress and
withstand a siege of repulsive creatures (enormous
toads, bats and serpents). If the visitor cannot keep
control of himself, he dies. On the other hand, if he does,
he remains unharmed and enters an enclosure where men
and women surrender themselves to all types of carnal
pleasures and participates in them until the first

cockcrow, the moment in which he leaves, bestowed with

supernatural powers in exchange for his soul.
% III: Coquena

In the Argentinian provinces of Salta and Jujuy there

lives a goblin named Coquena, who is considered to be
the divine protector of animals. He is described as a
dwarf with indigenous features, dressed as a shepherd.
Coquena watches over the herds that graze in the hills,
striving to remain unseen by man. To meet him is
considered a bad omen. It is believed that when animals
are seen moving without anyone driving them, it is
Coquena who is leading them to better pastures. He
always chews coca leaves and wanders about the hills
whistling and playing his flute made of condor bones.
At night he leads herds with gold and silver towards the
Bolivian Potos Mountain so that its wealth is never
depleted. It is said that he can be very generous with
good shepherds, but he punishes mercilessly all those
who prey on the vicuas and guanacos with firearms or
travellers who place over-heavy burdens on their llamas.
^ V: Velando al angelito (Holding a Wake for the
Little Angel)
In the interior of the country, especially in the North and
Northwest, it is believed that children who die before
the age of seven are pure beings, since they have not had
time to be tainted by human misery. For that reason they
are considered to be angels who go directly to heaven, in
contrast to adults, who after death must pass through
purgatory. When a child dies, the parents celebrate with
a party to pay homage to the child, bringing together
relatives and neighbours. The godmother sees to the
preparation of the body of the little angel: a sheet
hanging from the ceiling represents heaven and the little
coffin (placed above the table) is adorned with paper
flowers. A cord is tied to the little ones waist so that
when the godmother dies and finds herself in purgatory
she can grasp it to rise to heaven. Another cord is placed
around the box for those who attend the wake to tie
knots in it and then ask the little angel to give them

8.557658

557658bk USA

6/1/06

8:16 pm

Page 2

Guitar Music of Argentina 2

Throughout its recent history, South America has
received successive currents of immigration. These,
added to the native populations, have resulted in an
ethnically diverse population, with a culture as rich as it
is varied. The native inhabitants of these lands since
ancient times, the Spanish and Portuguese conquistadors
in the sixteenth century, the African slaves in the
seventeenth, and Italian, French and other European
colonists in the eighteenth and nineteenth centuries have
all contributed to this their own customs, languages,
religions, and, of course, their music. The works here
included are an expression of the diversity of genres
extant in the Republic of Argentina, not folk-music, but
reflections of a unity in cultural diversity.
Victor Villadangos
1 Quique Sinesi (b. 1960): Sonidos de aquel da
(Sounds From That Day)
As with Contramarea, Sonidos de aquel da is inspired
by the rhythm of the milonga orillera, which is faster
and more cheerful than the milonga surea. The central
part is by Villadangos, developing the rhythmic and
melodic elements of the original work.
2 Contramarea (Opposing Tide)
Quique Sinesis Contramarea was originally entitled
Contra viento y marea (Against Wind and Tide), but the
name was changed for legal reasons, owing to the prior
existence of another work with the same title. The piece
has jazz influenced harmonies, and the inspired rhythm
of the milonga can be detected.
3 Cielo abierto (Open Sky)
Cielo abierto uses the candombe rhythm, developed
over a bass ostinato. The structure is similar to a rondo,
with alternating sections of melodic variations then
returning to the primary idea of the ostinato. The
innovative aspect of the piece is in the use of percussive
techniques on the guitar.

8.557658

4 Carlos Moscardini (b. 1959): Doa Carmen

Written in a criollo waltz rhythm, Doa Carmen is a

reminiscence of the composers grandmother, taken
from his childhood memories of the patio of his
mothers house.
Mximo Pujol (b. 1957): Elega por la muerte de un
tanguero (Elegy for the Death of a Tango Player)
Elega por la muerte de un tanguero, dedicated to
Victor Villadangos, is an expression of profound
admiration for the music of Astor Piazzolla, homage to
the bandoneon player and composer born in 1921. As a
creative device, Mximo Pujol uses a succession of
three sounds extracted from Adios Nonino and using
serial techniques, inverted and mirrored, achieves a
synthesis between his own musical language and that of
Piazzolla.
5 Confuseta: Confuseta (alluding to confusion)
presents in the first section the use of canonic imitative
counterpoint, using the aforementioned pattern of three
sounds. The second slower section continues the idea of
a cantabile melody, supported by low and elongated
sounds.
6 En Melancola: En Melancola (In Melancholy)
suggests a rainy autumn afternoon, as seen through the
window of an imaginary room in a Buenos Aires
neighbourhood, culminating with a succession of
impetuous and dramatic chords.
7 Eplogo: Eplogo (Epilogue) applies Piazzollas style
to the guitar, with knowledge of the instruments real
potential. It takes again the idea of the three
inspirational sounds from Adios Nonino, alternating the
tempi. Various rhythmic effects (golpes or strikes,
chasquidos or cracks, and so on) are used, until the
La muerte de un angel
coda, where Piazollas
(Death of an Angel) is cited, culminating in an explosive
Bartkian pizzicato.

8-9 Sergio Natali (b. 1964):

Mate dulce mate caliente (Sweet Mat Hot Mat)
El arte de cebar (The Art of Serving Mat) lends its
name to a series of four paintings accompanied by
poetic prose about mate, the traditional herbal drink that
is shared in a circle with friends in Argentina and other
South American countries. The texture that
distinguishes the paintings and the constant reference to
the meaning of the prose, motivated the composer to
follow the game of synesthesia, this time with sound.
That is how these pieces for guitar emerged, presenting
a small motif from the beginning that insistently repeats
itself, an allusion to the ritual of passing the mate around
the circle. Of the two mates offered in this recording,
mate dulce (sweet mat) brings out the melodic element,
while mate caliente (hot mat) has a more rhythmic
character.
0 Victor Villadangos (b. 1958): Hora libre

Hora libre was composed during a class period from

which a student was absent at the conservatory where
Victor Villadangos teaches. Through a fresh and simple
melody, he seeks to suggest a feeling of creative joy.
! Tucutut
Tucutut is the onomatopoeic sound of the opening
rhythm of the piece, which explores the different
percussive effects of the guitar and the combination of
melody and percussion played simultaneously by both
hands independently.
@ Pepe Ferrer (b. 1958): El Felipe

El Felipe is based on the form and character of the

Argentinian dance, the Gato (cat), originating from the
province of Santiago del Estero. As with other
Argentinian folk rhythms, it uses accents that result
from the superimposition of 6/8 and 3/4 measures. This
is the story of an anxious and curious cat named Felipe,
a veteran of battles for the love interests of the female
cats in the neighbourhood.

& Julio Santilln (b. 1974):

Estudio n 4 Mal ando (Badly Off)
The title Mal ando is a play on words that evokes the
rhythm of the malambo, using the rhythm of the title
mal ando or ando mal (badly off) for that of
malambo. It includes two contrasting sections: one very
rhythmic, using the rasgueo (traditional folk strumming
or imitation of certain percussion instruments) and the
other with more counterpoint and unexpected
modulations.
*-) Carlos Guastavino (1912-2000):
Sonata n 3 (1973)
In 1989, Victor Villadangos gave the premire of Carlos
Guastavinos third and last sonata, after having agreed
upon the phrasing, articulations, tempo and interpretation
with the composer. Dedicated to the guitarist Horacio
Ceballos, the work is written in the traditional sonata
form in three movements. The first movement, Allegro
preciso e ritmico, has the original feature of changing
from minor to major with different harmonic
combinations using the 9/8 rhythm, so typical of
Argentinian folk-music. Guastavino himself defined the
rhythmic figure used in both themes as the counterrhythm, containing the customary figures of Argentinian
folk-music, but in a different order. The Adagio has a
beautiful melody that evokes a certain reflective climate
with a deep lyricism provided by a poetic dialogue,
recalling some of the works of the legendary Spanish
guitarist and composer, Antonio Jimnez Manjn. The
final Allegro is the essence of deep criollo feeling. It
begins with impetuous rasgueos, passes through troubled
and swift rhythmic combinations until reaching a moment
of respite, serving as a brief interval. After this comes the
recapitulation of the principal theme with harmonic and
melodic variations, enriched by the central part, until
concluding with the initial rasgueos, this time in a minor
key in order to create tension and to connect with the
tonic in the major key.
Diego Orellana

8.557658

Marcelo Coronel (b. 1962): Imaginario popular

argentino: centro y noroeste (Popular Argentinian
Legends)
# I: Pachamama
Pachamama is the principal deity of the native people of
Bolivia, Peru and the Argentinian Northwest. She is
identified with the earth and all of nature is her temple.
To pay homage to her, locals and travellers erect small
mounds of stones, called apachetas, by the roadside.
There they make their requests and leave humble
offerings for her. She intervenes in all aspects of life,
and her protection is called upon for a good harvest, for
the propagation of the herd, to relieve cold spells and
plagues, to bring luck to the hunt, to prevent altitude
sickness on journeys, and for other needs. In some
regions of Salta it is believed that the Pachamama is an
ancient Indian woman, who watches over all valleydwellers and keeps guard over the treasures of the
ancients.
$ II: La Salamanca
La Salamanca is a place, generally a pit or distant cave
in the forest, devoted to the cult of the Devil (also called
Zupay or El Malo). Those who go there do so to request
diverse powers or abilities, like the skill to play musical
instruments or to sing, to be irresistible in love or
invincible in fighting. The women that gather there do so,
in general, to learn witchcraft. As the price for obtaining
such gifts, all must hand their souls over to the Devil. La
Salamanca draws attention to its presence with the
joyful music that emanates from it, attracting whoever
passes by. At the entrance there are usually religious
symbols that must be desecrated as a sign that one has
rebelled against God. To enter, one must undress and
withstand a siege of repulsive creatures (enormous
toads, bats and serpents). If the visitor cannot keep
control of himself, he dies. On the other hand, if he does,
he remains unharmed and enters an enclosure where men
and women surrender themselves to all types of carnal
pleasures and participates in them until the first

cockcrow, the moment in which he leaves, bestowed with

supernatural powers in exchange for his soul.
% III: Coquena

In the Argentinian provinces of Salta and Jujuy there

lives a goblin named Coquena, who is considered to be
the divine protector of animals. He is described as a
dwarf with indigenous features, dressed as a shepherd.
Coquena watches over the herds that graze in the hills,
striving to remain unseen by man. To meet him is
considered a bad omen. It is believed that when animals
are seen moving without anyone driving them, it is
Coquena who is leading them to better pastures. He
always chews coca leaves and wanders about the hills
whistling and playing his flute made of condor bones.
At night he leads herds with gold and silver towards the
Bolivian Potos Mountain so that its wealth is never
depleted. It is said that he can be very generous with
good shepherds, but he punishes mercilessly all those
who prey on the vicuas and guanacos with firearms or
travellers who place over-heavy burdens on their llamas.
^ V: Velando al angelito (Holding a Wake for the
Little Angel)
In the interior of the country, especially in the North and
Northwest, it is believed that children who die before
the age of seven are pure beings, since they have not had
time to be tainted by human misery. For that reason they
are considered to be angels who go directly to heaven, in
contrast to adults, who after death must pass through
purgatory. When a child dies, the parents celebrate with
a party to pay homage to the child, bringing together
relatives and neighbours. The godmother sees to the
preparation of the body of the little angel: a sheet
hanging from the ceiling represents heaven and the little
coffin (placed above the table) is adorned with paper
flowers. A cord is tied to the little ones waist so that
when the godmother dies and finds herself in purgatory
she can grasp it to rise to heaven. Another cord is placed
around the box for those who attend the wake to tie
knots in it and then ask the little angel to give them

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Page 5

grace. Once everyone has arrived, musicians lift the

general mood, while coffee and drinks are provided, to
revive the afflicted spirits of friends and relatives. At
midnight the godmother takes the little coffin in her
arms and dances to the beat of the music. After a few
minutes she gives the coffin to the godfather, who ends
his godchilds farewell with zapateos (a traditional

Argentinian dance for men only). From that moment on,

all the guests join the dance, singing and drinking. At
dawn the burial takes place. People intone typical songs
of the region and do so without shedding tears, for they
would wet the wings of the little angel, impeding its
ascent to heaven.
Marcelo Coronel

Victor Villadangos
Born in Buenos Aires, Vctor Villadangos graduated as Profesor Superior de Guitarra from
the Conservatorio Juan Jos Castro as a student of Mara Herminia Antola de Gmez
Crespo. Since 1980, he has performed extensively, both as a soloist and in chamber music
ensembles, in all the major concert halls and theatres of Buenos Aires and more than a
hundred different cities in the interior of Argentina with prominent musical organizations.
Abroad he has been featured in concert throughout Europe, in North and South America,
Israel and Japan. He has made a number of solo recordings and collaborated on other
releases of classical and popular music. Since 1990 he has given master-classes throughout
Argentina and abroad, and is professor of guitar at the Conservatorio Juan Jos Castro and Conservatorio Manuel de
Falla de Buenos Aires. His achievements have brought him the award of the Diploma al Mrito from the Fundacin
KONEX for his artistic work over the last decade.

GUITAR MUSIC
OF ARGENTINA
Mximo Pujol Quique Sinesi
Marcelo Coronel Pepe Ferrer
Julio Santilln Carlos Guastavino
Victor Villadangos, Guitar

8.557658

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Page 5

grace. Once everyone has arrived, musicians lift the

general mood, while coffee and drinks are provided, to
revive the afflicted spirits of friends and relatives. At
midnight the godmother takes the little coffin in her
arms and dances to the beat of the music. After a few
minutes she gives the coffin to the godfather, who ends
his godchilds farewell with zapateos (a traditional

Argentinian dance for men only). From that moment on,

all the guests join the dance, singing and drinking. At
dawn the burial takes place. People intone typical songs
of the region and do so without shedding tears, for they
would wet the wings of the little angel, impeding its
ascent to heaven.
Marcelo Coronel

Victor Villadangos
Born in Buenos Aires, Vctor Villadangos graduated as Profesor Superior de Guitarra from
the Conservatorio Juan Jos Castro as a student of Mara Herminia Antola de Gmez
Crespo. Since 1980, he has performed extensively, both as a soloist and in chamber music
ensembles, in all the major concert halls and theatres of Buenos Aires and more than a
hundred different cities in the interior of Argentina with prominent musical organizations.
Abroad he has been featured in concert throughout Europe, in North and South America,
Israel and Japan. He has made a number of solo recordings and collaborated on other
releases of classical and popular music. Since 1990 he has given master-classes throughout
Argentina and abroad, and is professor of guitar at the Conservatorio Juan Jos Castro and Conservatorio Manuel de
Falla de Buenos Aires. His achievements have brought him the award of the Diploma al Mrito from the Fundacin
KONEX for his artistic work over the last decade.

GUITAR MUSIC
OF ARGENTINA
Mximo Pujol Quique Sinesi
Marcelo Coronel Pepe Ferrer
Julio Santilln Carlos Guastavino
Victor Villadangos, Guitar

8.557658

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6/1/06

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Page 1

NAXOS

NAXOS

This second recording in the series (Volume 1 is available on 8.555058) brings together pieces written
for the guitar by some of the most eminent contemporary composers of Argentina. The huge diversity
of popular songs and rhythms still extant can be heard, for example, in the special strikes and cracks in
Pujols homage to Piazzolla, Elegy for the Death of a Tango Player, Ferrers adaptation of the Gato
(cat) dance, the criollo waltz rhythm of Moscardinis Doa Carmen and Natalis evocation of the art
of serving the traditional herbal drink, mate.

8.557658

El Felipe (Gato)

3:54
4:26
5:35

Carlos Moscardini (b. 1959):

4

Doa Carmen (Vals Criollo) 3:22

Diego Mximo Pujol (b. 1957):

8
9

Mate dulce (Sweet Mat)

Mate caliente (Hot Mat)

4:05
2:19

Imaginario popular Argentino

(Popular Argentine Legends) 9:06
#
$
%
^

I Pachamama
II Salamanca
III Coquena
V Velando al angelito

2:23
2:26
2:11
2:07

Julio Santilln (b. 1974):

&

Estudio No. 4 Mal ando

(Badly Off)

2:33

Carlos Guastavino
(1912-2000): Sonata No. 3 14:56

* I Allegro preciso e ritmico

( II Adagio
) III Allegro

7:16
3:48
3:52

Victor Villadangos (b. 1958):

0
!

Hora libre (Free Hour)

Tucutut

1:49
2:59

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, from 6th to 9th August, 2004
Producers: Norbert Kraft and Bonnie Silver Engineer and Editing: Norbert Kraft
Booklet Notes: Diego Orellana and Marcelo Coronel Guitar by Mateo Crespi (Buenos Aires, Argentina)
Cover Painting: Blue River by David Utz (by kind permission)

8 .55 76 58

8. 557 65 8

Victor Villadangos, Guitar

&  2006
Naxos Rights International Ltd.

Sergio Natali (b. 1964):

3:38
3:10

Marcelo Coronel (b. 1962):

Booklet Notes in English

Made in USA

(In Melancholy)
7 II Eplogo (Epilogue)

3:01

66:39

www.naxos.com

5 I Confuseta (In Confusion)

6 II En melancola

9:49

1:45

Elega por la muerte

de un tanguero

Pepe Ferrer (b. 1958):

47313 26582

Sonidos de aquel da
(Sounds from that Day)
2 Contramarea
(Opposing Tide)
3 Cielo abierto (Open Sky)

GUITAR MUSIC OF ARGENTINA 2

Playing Time

Quique Sinesi (b. 1960):

GUITAR MUSIC OF ARGENTINA 2

DDD

GUITAR MUSIC OF ARGENTINA 2