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Extra resources for Birdsong in the music of Olivier Messiaen, vol.1, vol.2 [PhD Thesis]

Example text

We encountered him still visibly extenuated due to the illness that he contracted a few months ago which obligated him to return to the vivifying air of our beaches. The warm affability of Barrios made it possible for us to enter without delay into the following pleasant conversation: How is your state of health and mind for your upcoming concerts? Nthough I am not yet completely recovered, I fmd myself drawing strength from weakness, my plan being to spend the winter in, Paraguay, whose beneficial climate I believe will return my lost energies, as I cannot shirk my duty to the public of Montevideo, which has always given me warm and affectionate encouragement.

Three of these works are in the extended medley form: Divagacianes Crial/as, Aires Crial/as and Aires Andaluces (which obviously worked well to "fill time" in the formats in which he found employment). There are no classical works and no substantial works from the concert guitar repertoire of that time (even though he could have performed works of Sor and Aguado). This repertoire is decidedly "South American popular" and illustrates the aversion Klinger claims Barrios had to performing at this time the standard type concert works and transcriptions.

I •• __ ....... . • " .... , op t II. •••• o. l. oU"", ,. Tr.. I... . - oj Chlnl d. P'lu. Iu............... •••• .. ~6eI ..... I"~ ... lf<'"U" L _ _ _ _ _ _ _ _ _ -' ENTRADA 49 ------- 10$000 Barrios began giving concerts with more frequency in 1917. AHhis time "something" started happening in his creative mind - the beginning of an intense period of activity spaning a decade in which he would compose 76 compositions, transcribe 39 pieces, and incorporate 20 selections by other gu~arist-composers into his reperotire (and probably a good deal more as these are minimal compilations) .

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