Translator: Camille Martínez Reviewer: Ariana Bleau Lugo
(Guitar music)
(Applause)
(Guitar music)
(Applause)
Thank you very much.
(Guitar music)
(Applause)
And that's how... --need a microphone--
That's how, over the course of time and throughout different periods,
the history of an instrument writes itself.
It searches for new horizons.
It seeks out musical styles.
The guitar can teach you about different periods in history
by way of its own repertoire.
Every time period has a composer, a writer
who takes the instrument further, and who then comes to embody that era.
Lately, one of the things that's been having a good effect
in terms of the repertoire itself
and in generating interest among audiences
has been the study of Latin American music.
Because it's so rich, isn't it?
It has a whole mix of different elements --African, indigenous, European--
that have come together in a really fruitful way.
For all the instruments, the Latin American classical repertoire,
is much richer than people are aware, or would imagine.
These days I mostly perform concerts outside of the country--
in the United States or in other Latin American countries,
and in Europe, too.
And Latin American music always has a special draw.
It holds a special interest, due to all its variety,
for this mixture that makes it a little different
than what people are accustomed to hearing in a concert hall.
So, to start bringing my presentation to a close, I wanted to share
a work by the Brazilian composer and pianist, Ernesto Nazareth.
This is the transcription for guitar.
The piece is called, "Vem cá branquinha".
(Guitar music)
(Applause)