La Catedral 3rd Movement Tab

[Dannie Heinzen]

Sectionone (mm. 1-59) begins in B minor and moves into D major (relative major) with the authentic cadence in measure fifty-nine. Note how he sometimes approaches the dominant (F# major) chromatically from below in this section with the fourth degree (E) ascending to E# and then to F# (dominant). He accomplishes this with two different harmonies. First with the traditional secondary leading-tone diminished triad as in measure seventeen and with the augmented sixth chord in measure forty-seven, although in this case only the interval of an augmented sixth is present in inversion. At first I assumed these two were the same until I took a closer look. Since many of these harmonies are implied I thought the presence of the G natural along with the E# strongly implied the augmented sixth chord whereas in the other instances, where the G is not present, the E# bass along with the other tones seemed to imply a diminished triad.

Section two (mm. 60-87) consists mainly of a succession of descending parallel tenths in the outer voices beginning with the D and F# (third and fifth of tonic) in measure sixty and moving down the scale arriving on the F# and A# in (root and third of dominant) in measure eighty. The resulting succession of first inversion triads are usually not considered a chord progression and so were not indicated as such. The important feature is the parallel descending tenths that connect the tonic and the dominant. Again we get that brief chromatic approach to the dominant in measure seventy-nine and again in measure eighty-three with both the secondary leading-tone and augmented sixth chords as we had in the previous section.

Section four (mm. 123-153) is the development section. The use of the German augmented sixth chord (mm. 124-127, 135-138) is the meatiest part of this development. It was this that caught my attention on first hearing this piece and I had no idea what it was at the time. Barrios uses this harmony, as it has been used traditionally, as dominant preparation. It usually precedes the dominant or the tonic 6-4 chord. The interval of an augmented sixth contained in this harmony resolves in contrary motion to an octave, which in this case is the root of the dominant harmony. We have discussed this chord in detail in previous articles. Please refer to the Sor Op. 6 analyses for an in-depth explanation. There is also a very nice circle of fifths progression which begins in measure 141 on the dominant (F#) and works its way back to the dominant, completing a circle in measure 150. The root movement is as follows: F#-B-E-A-D-G-C#-F#. Of course there is one diminished fifth in this sequence in order to remain diatonic and not leave the home key.

Once again I hope you enjoyed this journey as much as I have and find it useful in better understanding this great composition. The pdf file below contains the score and the analysis for your use. More to come with the analysis of the Preludio and Andante religioso.

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Inspired by a visit to the Cathedral of San Jose in Montevideo, the broad, horizontal chords of the andante represent Mangore's impressions of the organist playing Bach chorales in the cathedral. The ensuing allegro symbolizes his leaving the calm, spiritual atmosphere of the cathedral and entering out into the street, where the hustle and bustle of the real world is represented by incessant sixteenth note arpeggio figures.

Agustn Barrios Mangor (1885-1944) was one of the most successful and influential guitarist/composers of the first half of the twentieth century. His compositions range from simple etudes to wildly virtuosic multi-movement works. The majority of these works fall into one of three categories: folkloric, in which pieces were modeled after South American folksongs; imitative, in which composition styles and techniques were borrowed from the Baroque and Romantic periods; and religious, in which pieces were inspired by Barrios' own religious experiences and beliefs. As a performer, his virtuosic abilities have been compared to other composer/performers such as Niccolo Paganini.

Paraguayan composer Agustn Barrios Mangor (1885-1944) started his recording career as guitarist around 1911, and his concert career at age 18. This continued for the next 40-some years touring, mainly in South and Central America. Largely forgotten except in his home country, his career came back to life in the 1970s in the hands of guitarist John Williams, who brought so much forgotten music alive again.

The history of the work starts with Barrios Mangor in Montevideo, the capital of Uruguay. From his hotel he could hear the bells of the Cathedral of San Jos, which, as church bells do, overrode all other sounds, interrupting his composing and practicing. This became the beginning of his second movement, the Andante religioso. The composer then enters the cathedral proper and hears the organist practicing his Bach.

After the quiet musical time in the cathedral, our composer emerges back onto the street where all life whirls around him. The street is energetic and insistent, but still, the repeating note of the cathedral bells has a place.

Barrios Mangor brought the guitar back into the spotlight through his tours of South and Central America. As new performers discovered his work, his influence spread through all continents. Barrios Mangor wrote guitar music with a definite Romantic feeling, but his composition also keeps a strong eye on the world around him, as well.

La Catedral is perhaps Agustn Barrios's best known and most played composition. Even though La Catedral is one of Barrios's early works (written in 1921), it didn't assume a final form until the last years of Barrios's life, when the Costa Rica (1939) and El Salvador (1943) manuscripts were written. Throughout his career, Barrios evolved how he played La Catedral, adding and removing parts, changing fingerings, and renotating entire movements. As a result, you will find that nobody plays it exactly the same way, depending on which transcription they are working from and how their preferences shape the bits they incorporate or omit to create their own unique renditions. Part of the joy of listening to or performing La Catedral is the variety of arrangements and interpretations it makes possible, providing something new to discover each time it is played.

Barrios wrote the original two movements, Andante Religioso and Allegro Solemne, in Uruguay in 1921. Preludio Saudade was added as the first movement in 1939, after having been written in Havana, Cuba in 1938. Although some people reject the first movement as being part of La Catedral, it fits perfectly with the rest of the work and is a great work in its own right.

Preludio Saudade was written originally in two voices (1939 Costa Rica manuscript), but later renotated in three voices (1943 El Salvador manuscript). My original transcription combined the two because I thought the three-voice notation could be more challenging to read and the two-voice notation was inaccurate, rendering some quarter notes as sixteenth notes. Combining the two provided what I thought was the ease of reading of the two-voice notation along with the accuracy of the three-voice notation. Since then, I have changed my mind. My most recent transcription notates three voices without the clutter of an overlayed two-voice rendition.

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