BICHO FEO FOUND
TonyMorris
FAMOUS LONG-LOST ENCORE CONCERT PIECE BY AGUSTIN BARRIOS HAS BEEN
FOUND!
more info coming soon...
Tommy Grand
Send it to me at once, because I have a recording date next week and I
need to practise.
TonyMorris
The original 78 recording by Barrios himself has been found
independently by 2 different sources, both within a period of two
months. Bicho Feo, or "Ugly Bug" is a humorous tango that Barrios used
to play at the end of his concerts to bring the house down. The
manuscript of the score has never been found, but Barrios recorded it
on the Atlanta label in Argentina, and two copies have been found!
Huge news for the classical guitar world.
tm
Slogoin
Incredible! Details, details! Where are the details, man?
¿que pasa?
Che dude?
Andrew Schulman
Andrew
TonyMorris
Nope, it was found independently by 2 Barrios scholars working
separately.- The original Atlanta recording by Barrios himself!
Best yet, it is now available very recently by Chanterelle. I just
ordered my copy online. Now there is only one lost recording by
Barrios himself.
https://www.chanterelle.com/shop/
details:
Bild:CHR102
<<back to shopping cart >>
Title Barrios plays his own compositions and other works
Composer/Artist/Manufacturer BARRIOS Agustín
Description NOW READY!
New enlarged and improved version of our well known 3CD set. This new
version, produced with the cooperation of the Cabildo museum in
Asunción, is on 3 Audio CDs, and repeated on a bonus MP3 CD for use in
computers and other personal listening devices. Nine recently
discovered tracks and an illustrated 16 page booklet by Richard Stover
are included.
Product MP3-CD
Subject CDs - Recent & Historical Recordings
Instrumentation Gitsolo
Publisher Chanterelle
Year of publication 2009
Style Latin-American
Weight 191 g
Price 22,90 €
Order number CHR102
Tango No. 2 (Barrios), La Paloma (Yradier), Ojos Negros (Racciopoppi),
Mandolinata Napolitana (Sosa Escalada), Jota (Barrios), Ay, Ay, Ay
[1st Rec] (Perez Freire), Marcha Paraguaya (Dupuy), A Mi Madre -
serenata (Barrios), Lucia de Lammermoor (Donizetti), Bicho Feo - Tango
(Barrios), Estilo y Pericón (Barrios), Aires Andaluces (Barrios),
Vidalita con variaciones (Barrios), Don Perez Freire-tango (Barrios),
Matilde - mazurka (Sosa Escalada), Divagación Chopiniana (García
Tolsa), Milonga - estilo (Barrios), Madrigal - gavota (Sosa Escalada),
Marcha de San Lorenzo (Silva), Divagación en Imitación al Violín
(Barrios), Pepita - vals (Barrios), Isabel - gavota (Barrios), Oro y
Plata - vals (Lehar), Petit Pierrot - marcha (Barrios) Divagaciones
Criollas (Barrios), La Bananita - tango (Barrios), Aires Criollos
(Barrios), Madrigal (Barrios), Tarantella - [1st rec], (Barrios/
Albano), Aire de Zamba [1st rec] (Barrios), Minuet [1st rec]
(Beethoven), Habanera (Barrios), Romanza - Imitación al violoncello
[1st rec], (Barrios), Minuetto (Sor), Córdoba (Barrios), Sarita
(Barrios), Capricho Arabe (Tárrega), Romanza - imitación al
violoncello [2nd rec] (Barrios), Aire Popular Paraguayo (Barrios), Luz
Mala (Barrios), Loure (Bach), Capricho Arabe [2nd rec] (Tárrega),
Minuet [2nd Rec] (Beethoven), Danza Paraguaya (Barrios), Cueca
(Barrios), Aconquija (Barrios), Junto a tu Corazón (Barrios), Oración
(Barrios), Vals No. 4 (Barrios), Maxixa (Barrios), Mazurka - Sarita
(Barrios), Träumerei (Schumann), Tarantella [2nd rec] (Barrios/
Albano), Souvenir d'un Rêve (Barrios), Ay, Ay, Ay [2nd Rec] (Perez
Freire), Madrigal - gavota (Barrios), Vals No.3 (Barrios), Confesión
(Barrios), Aire de Zamba [2nd Rec] (Barrios), Pericón (Barrios),
Contemplación (Barrios), La Catedral (Barrios), Armonías de América
(Barrios), Invocación a mi Madre (Barrios), Diana Guaraní (Barrios),
El Sueño de la Muñequita (Barrios), Invocación a la Luna [fragment]
(Barrios), Voice of Barrios.
Matanya Ophee
Now the only thing left to do, is to run a contest of guessing to
decide the following:
1. How fast would it be before this track is put on line for free
download?
2. How fast would it be before we have 36,000 competing editions of
this tune?
My guess is, about a month and a half. What's your guess?
MO.
TonyMorris
Could be, indeed. But, for me, it's worth paying full price, so I
bought the recording online just now. I've been looking for this for a
while, ever since David Russell first mentioned the piece in an old
interview :http://www.guitaralive.org/
David_Russell_interview_excerpt.mp3
cheers,
tm
Classical Guitar Alive! radio program
http://www.guitaralive.org
John Nguyen
> On Apr 20, 4:42 pm, TonyMorris <ClassicalGuitarAl...@gmail.com> wrote:
>
> > just got off the phone with some incredible news: BICHO FEO, THE
> > FAMOUS LONG-LOST ENCORE CONCERT PIECE BY AGUSTIN BARRIOS HAS BEEN
> > FOUND!
>
> > more info coming soon...
>
> Now the only thing left to do, is to run a contest of guessing to
> decide the following:
>
> 1. How fast would it be before this track is put on line for free
> download?
One week!
> 2. How fast would it be before we have 36,000 competing editions of
> this tune?
Two months.
Carlos Barrientos
Che has mentioned this longgggggggggggg ago...
--
Carlos Barrientos
"mailto:carlosgu...@gmail.com"
Phone: (229) 594-6374
Che
> On Apr 20, 3:42 pm, TonyMorris <ClassicalGuitarAl...@gmail.com> wrote:
>
> > just got off the phone with some incredible news: BICHO FEO, THE
> > FAMOUS LONG-LOST ENCORE CONCERT PIECE BY AGUSTIN BARRIOS HAS BEEN
> > FOUND!
>
> > more info coming soon...
>
> The original 78 recording by Barrios himself has been found
> independently by 2 different sources, both within a period of two
> months. Bicho Feo, or "Ugly Bug" is a humorous tango that Barrios used
> to play at the end of his concerts to bring the house down.
Do you have any documentation supporting the above statement
concerning the house collapsed? Building inspector reports, newspaper
accounts?
>The manuscript of the score has never been found,<
How do you know this as a fact?
Che
And 1,200 poor recordings by guitar students on YouBoob.com
Che'
TonyMorris
>
> How do you know this as a fact?
Nine "new" Barrios pieces, thanks the discovery from two different
Barrios scholars independently in a two month period.I got a phone
call from a third Barrios scholar earlier today, and I verified it. A
long lost 78rpm recording by Barrios has been found. There is now only
one Barrios sound recording which remains to be found.
For those interested in the back story, Listen online to this
interview excerpt I recorded with David Russell on lost pieces of
Barrios:
http://www.guitaralive.org/David_Russell_interview_excerpt.mp3
And, read about "Bicho Feo" in Richard Stover's book, "Six Silver
Moonbeams", GSP Publications: "Bicho Feo" is referenced on pages: 48,
50, 51, 52, 115, 126, 157, 233, 250, 253.
The sound recording has now been published and is available here:
https://www.chanterelle.com/shop/
look for catalog listing CHR102
Or, I've copied and pasted it here:
Bild:CHR102
For those of us who love classical guitar music and music of Barrios,
this is wonderful news.
best wishes to all,
Tony Morris
Classical Guitar Alive! radio program
broadcast worldwide:
http://www.guitaralive.org
Tommy Grand
> On Apr 20, 7:29 pm, Cher <Comanchetr...@hotmail.com> wrote:
>
>
>
> > How do you know this as a fact?
>
> Nine "new" Barrios pieces, thanks the discovery from two different
> Barrios scholars independently in a two month period.I got a phone
> call from a third Barrios scholar earlier today, and I verified it. A
> long lost 78rpm recording by Barrios has been found. There is now only
> one Barrios sound recording which remains to be found.
I'm surprised you didn't hear about this major discovery until the CD
was already rolling off the presses. Why is that?
Someday I would like to become a Pujol scholar but I wonder if it's
possible without traveling or speaking Spanish.
Matanya Ophee
>
> >The manuscript of the score has never been found,<
>
> How do you know this as a fact?
That is asking Tony to prove a negative, a clear impossibility. I
can't speak for Tony, or for any of the other Barrios "experts", but I
have a feeling that what he really meant to say is that a manuscript
of this piece is either:
1. not known to exist today,
2. or, rumored to exist someplace where it is inaccessible to the
general public. Reminds me of the story of the phantom Chilesotti
manuscript Arthur Ness was trying to foist on the public. (http://
www.guitarandluteissues.com/rmcg/chilesotti.htm).
In any case, now, that a recording by Barrios himself has been found
and is commercially (and soon, not so commercially) available, the
existence or non-existence of an actual manuscript is moot. With
modern transcription software, it will not be long before a
computerized version of Bicho Feo will make its appearance. You can
count on the likes of Chris Dumigan to produce one in no time at all.
MO.
TonyMorris
Exactly right.
And for the many among us who first learned to play guitar by slowing
records down and learning tunes note-for-note, it's a well-practiced
skill honed by many, many hours.
tm
Dicerous
...It's a well-practiced skill *honey*...
David
TonyMorris
> On Apr 20, 3:48 pm, TonyMorris <ClassicalGuitarAl...@gmail.com> wrote:
>
> > On Apr 20, 3:42 pm, TonyMorris <ClassicalGuitarAl...@gmail.com> wrote:
>
> > > just got off the phone with some incredible news: BICHO FEO, THE
> > > FAMOUS LONG-LOST ENCORE CONCERT PIECE BY AGUSTIN BARRIOS HAS BEEN
> > > FOUND!
>
> > > more info coming soon...
>
> > The original 78 recording by Barrios himself has been found
> > independently by 2 different sources, both within a period of two
> > months. Bicho Feo, or "Ugly Bug" is a humorous tango that Barrios used
> > to play at the end of his concerts to bring the house down.
>
I have a photo of the newly-discovered Bicho Feo recording. It is on
my Facebook profile page:
http://www.facebook.com/profile.php?cropsuccess&id=697578285#/profile.php?id=697578285&ref=name
Tony Morris, Executive Producer
Classical Guitar Alive radio program
http://www.guitaralive.org
dewach...@gmail.com
> On Apr 20, 8:29 pm, Che <Comanchetr...@hotmail.com> wrote:
>
>
>
> > >The manuscript of the score has never been found,<
>
> > How do you know this as a fact?
>
> That is asking Tony to prove a negative, a clear impossibility. I
> can't speak for Tony, or for any of the other Barrios "experts", but I
> have a feeling that what he really meant to say is that a manuscript
> of this piece is either:
>
> 1. not known to exist today,
>
> 2. or, rumored to exist someplace where it is inaccessible to the
> general public. Reminds me of the story of the phantom Chilesotti
> manuscript Arthur Ness was trying to foist on the public. (http://www.guitarandluteissues.com/rmcg/chilesotti.htm).
I used to have that book, there were about 2 pieces worth playing in
there. I ended up giving it away to my friend who believed that
Chilesotti just made these up.
BTW, I read your link. Two things are wrong with your logic.
First, you can't discount, eyewitness accounts, second, if in fact the
original MS does exist is seems the owners are trying to keep it a
secret and that is in accord with eyewitness accounts of them not
disclosing the names of the owners of the MS.
BTW, the only person to surpass your imagination is your good
friend Arthur Ness.
Tashi
Matanya Ophee
>
> > 2. or, rumored to exist someplace where it is inaccessible to the
> > general public. Reminds me of the story of the phantom Chilesotti
> > manuscript Arthur Ness was trying to foist on the public. (http://www.guitarandluteissues.com/rmcg/chilesotti.htm).
>
> I used to have that book, there were about 2 pieces worth playing in
> there.
Other people thought that there were at least six pieces worth
playing, considering the number of editions of "Six Pieces from the
Renaissance", mostly taken out of this book, that have been published
and played ad nauseam by thousand of guitarists. I wonder of your 2
selections were among the six....
> I ended up giving it away to my friend who believed that
> Chilesotti just made these up.
That is, of course, an entirely plausible speculation. The only
problem with it, are the two photographic samples of two pages in
tablature from the original manuscript. Today, with computers and
Photoshop, it is not a problem to manufacture such photographic
images. For example, this one:
http://www.guitarandluteissues.com/yantee.gif
But in 1890?
>
> BTW, I read your link. Two things are wrong with your logic.
> First, you can't discount, eyewitness accounts,
Of course. If I know who the witness is. But in this case, no one
knows who the witness was, if indeed there was such a witness, and
when and where he witnessed that which he is alleged to have
witnessed. In other words, for all we know, this is just a rumor, not
an eye witness account.
> second, if in fact the
> original MS does exist is seems the owners are trying to keep it a
> secret and that is in accord with eyewitness accounts of them not
> disclosing the names of the owners of the MS.
Logically, this is irrelevant. If there was a credible eye witness
account, i.e. if some Giovanni Gonfiarini (Joe Blow...) gave us a
credible report that he had seen a manuscript that he could ascertain
was the source for Chileostti's transcriptions, then we could accept
the notion of the desire to keep it secret. But so far, all there is
are silly rumors.
> BTW, the only person to surpass your imagination is your good
> friend Arthur Ness.
I am sure you are right. The difference is, that my piece is not about
imagination, but about logic. But logic is not one of _your_ strong
attributes, so I understand why you come away from reading the piece
with the silly comment that you have.
Have a nice day.
MO.
dewach...@gmail.com
> On Apr 22, 11:02 am, dewachen1...@gmail.com wrote:
> Other people thought that there were at least six pieces worth
> playing, considering the number of editions of "Six Pieces from the
> Renaissance", mostly taken out of this book, that have been published
> and played ad nauseam by thousand of guitarists. I wonder of your 2
> selections were among the six....
It's been awhile since I read through that book, but my recollection
was the pieces in the Chileisoti were un recognizable as the "Six
pieces from the Renaissance". Is this your experience? I don't no
but it seems they were "modernised" a bit?
Matanya Ophee
Modernized is the wrong term here. What had happened is that in 1905,
one Heinrich Scherrer published a series of transcription from the
Chilesotti book, intended for the standard six-string guitar. Notice,
that contrary to what lutenists pretend, the Chilesotti book was not a
transcription from tablature for six string guitar, but from tablature
to seven course lute. Many of the pieces are not playable on the six-
string guitar as written.
Scherrer had many followers, each adding some "improvements." Never
the less, no matter what the modern transcription-adaptation, they are
still identifiable.
MO.
TonyMorris
Also, I should mention that there are nine "new" Barrios pieces on the
Chanterelle cd.
tm
dewach...@gmail.com
> On Apr 22, 11:59 am, dewachen1...@gmail.com wrote:
>
> > On Apr 22, 9:31 am, Matanya Ophee <matan...@gmail.com> wrote:
>
> > > On Apr 22, 11:02 am, dewachen1...@gmail.com wrote:
> > > Other people thought that there were at least six pieces worth
> > > playing, considering the number of editions of "Six Pieces from the
> > > Renaissance", mostly taken out of this book, that have been published
> > > and played ad nauseam by thousand of guitarists. I wonder of your 2
> > > selections were among the six....
>
> > It's been awhile since I read through that book, but my recollection
> > was the pieces in the Chileisoti were un recognizable as the "Six
> > pieces from the Renaissance". Is this your experience? I don't no
> > but it seems they were "modernised" a bit?
>
> Modernized is the wrong term here. What had happened is that in 1905,
> one Heinrich Scherrer published a series of transcription from the
> Chilesotti book, intended for the standard six-string guitar. Notice,
> that contrary to what lutenists pretend, the Chilesotti book was not a
> transcription from tablature for six string guitar, but from tablature
> to seven course lute. Many of the pieces are not playable on the six-
> string guitar as written.
Nobody played the lute in 1905, so I find your hypothesis to be
wrong. It most likely was a transcription which included the original
7th course in the tablature. Many of the ren lute pieces written for
7 course lutes are perfectly playable on a 6 course lute, but it
doesn't prevent scholars from including the 7th course for a
historical reference.
> Scherrer had many followers, each adding some "improvements." Never
> the less, no matter what the modern transcription-adaptation, they are
> still identifiable.
>
> MO.
Well I'm sure they are. But after I purchased the book I played
through most of the music and had a very hard time recognizing the
pieces for the more familiar " Six Renaissance Lute Pieces"
Matanya Ophee
> On Apr 22, 12:16 pm, Matanya Ophee <matan...@gmail.com> wrote:
>
>
>
> > On Apr 22, 11:59 am, dewachen1...@gmail.com wrote:
>
> > > On Apr 22, 9:31 am, Matanya Ophee <matan...@gmail.com> wrote:
>
> > > > On Apr 22, 11:02 am, dewachen1...@gmail.com wrote:
> > > > Other people thought that there were at least six pieces worth
> > > > playing, considering the number of editions of "Six Pieces from the
> > > > Renaissance", mostly taken out of this book, that have been published
> > > > and played ad nauseam by thousand of guitarists. I wonder of your 2
> > > > selections were among the six....
>
> > > It's been awhile since I read through that book, but my recollection
> > > was the pieces in the Chileisoti were un recognizable as the "Six
> > > pieces from the Renaissance". Is this your experience? I don't no
> > > but it seems they were "modernised" a bit?
>
> > Modernized is the wrong term here. What had happened is that in 1905,
> > one Heinrich Scherrer published a series of transcription from the
> > Chilesotti book, intended for the standard six-string guitar. Notice,
> > that contrary to what lutenists pretend, the Chilesotti book was not a
> > transcription from tablature for six string guitar, but from tablature
> > to seven course lute. Many of the pieces are not playable on the six-
> > string guitar as written.
>
> Nobody played the lute in 1905, so I find your hypothesis to be
> wrong.
That's not my hypothesis. That's what Chilesotti clearly said about
his own work. If you really had the book I published, you should have
read the extensive introduction by Stefano Toffolo where this was
discussed in detail.
> It most likely was a transcription which included the original
> 7th course in the tablature. Many of the ren lute pieces written for
> 7 course lutes are perfectly playable on a 6 course lute, but it
> doesn't prevent scholars from including the 7th course for a
> historical reference.
>
> > Scherrer had many followers, each adding some "improvements." Never
> > the less, no matter what the modern transcription-adaptation, they are
> > still identifiable.
>
> > MO.
>
> Well I'm sure they are. But after I purchased the book I played
> through most of the music and had a very hard time recognizing the
> pieces for the more familiar " Six Renaissance Lute Pieces"
I am not surprised. Most people have no such trouble. Only one of the
Six comes from another source.
MO.
dewach...@gmail.com
You assume much! I bought Dick Hoban's book, in lute tablature.
BTW, I have no doubt that a book published by you would state your
viewpoint, or that you would seek out someone like Stefano Tofflo to
write what you wanted him to.
BTW, I wonder just how many editions were published in 1905 of a
lute book? They probably had a hard time keeping it on the selves!
> > It most likely was a transcription which included the original
> > 7th course in the tablature. Many of the ren lute pieces written for
> > 7 course lutes are perfectly playable on a 6 course lute, but it
> > doesn't prevent scholars from including the 7th course for a
> > historical reference.
>
> > > Scherrer had many followers, each adding some "improvements." Never
> > > the less, no matter what the modern transcription-adaptation, they are
> > > still identifiable.
>
> > > MO.
>
> > Well I'm sure they are. But after I purchased the book I played
> > through most of the music and had a very hard time recognizing the
> > pieces for the more familiar " Six Renaissance Lute Pieces"
>
> I am not surprised. Most people have no such trouble. Only one of the
> Six comes from another source.
>
> MO.
We must be talking of different books!
Tashi
Matanya Ophee
Obviously.
MO.
TonyMorris
By the way, you'll never guess where one of the Bicho Feo recordings
by Barrios was found, this is too funny:
http://tinyurl.com/cee6sy
cheers,
Tony Morris
Classical Guitar Alive! radio program
Matanya Ophee
Makes perfect sence. In an Argentinian record store specializing in
Jewish cantorial singing, Israeli artists I used to hear in my youth,
and even one 78 of Misha Appelbaum, the fellow who took over the
guitar scene in Israel after I left.
All of which goes to prove that Agustin Barrios was actually
Jewish...:-)
.
TonyMorris
Some things I didn't know about Barrios until recently- He faked his
own death several times, in order to gauge public reaction.
And, he almost "made it": According to an article in the LA Times,
right before he died, he received an invitation from RCA records to
come to New York and record. He was recovering from a heart attack,
but decided to go anyway. He arranged a concert tour with another
guitarist friend to help pay for the trip to New York, but he died
before he could do it. Sort of like Mozart, in a way: Mozart was
finally having some real success from The Magic Flute, but became ill
and died.
I'm scheduling interviews with various Barrios scholars right now, and
hope to put something together something interesting for a future
episode of the Classical Guitar Alive radio program about the new
Barrios recording discoveries.
tm