Agustin Barrios Mangore's Biography

Agustin Barrios Mangore was born in San Juan Bautista de las Misiones, Paraguay on the 5th of May, 1885. He was a virtuosic guitarist and an innovative composer. After Barrios' death in August, 1944, he and his music were forgotten or ignored for nearly two decades. Since then, Barrios' recognition has been increasing steadily among the guitar community. Recent artists such as: David Russell, John Williams, Wulfin Lieske, and others have brought his music back to life through their recordings.

The young Barrios was introduced to music through the folk music of his native country, Paraguay, with songs such as the polca paraguaya, vals and the zamba. In 1898, Barrios was formally introduced to the classical guitar repertoire by Gustovo Sosa Escalada. At that time, he had already composed works for the guitar, and also performed pieces written by his former teacher Alias, such as: La Chinita and La Perezosa. Under the influence of his new teacher, Barrios went on to perform and study the works of Tarrega, Vinas, Sor and Aguado. Sosa Escalada was so impressed with his new pupil, that he convinced Barrios' parents to let him move to Ascuncion to continue his education. 3 Having already surpassed the technical and performing abilities of most guitarists, Barrios began to seriously compose around 1905.

Three essential categories revealed in Barrios' compositions are folkloric, imitative, and religious. Barrios honored the music and the people of his native land and composed pieces modeled after folkloric songs of various countries of South America. Imitating composition and techniques form the Baroque and Romantic periods was another side to his craftsmanship.

One of his most famous and consistent works is La Cathedral which may be viewed upon as Barrios' imitation of Bach counterpoint. It is believed that La Cathedral was inspired by what may have been a religious experience for Barrios; therefore, the piece may also be categorized under religion.
Religious beliefs and experiences also played an important role in Barrios' compositional process. Una limosna por el amor do Dio (An Alm for the Love of God), is another example of a religious inspired work. Breaking down the works of Barrios into these three categories helps aid the guitar enthusiast in the understanding of Barrios' musical intent.

The music of Barrios is reflective of many aspects of his life. He took great pride in his homeland, and many of his compositions were modeled after folkloric songs of various countries in South America. For example: he composed Choros, which is a from out of Rio de Janerio; Tangos originating in Argentina, Cuecos originating in Chile, and Danza Paraguayas, from Paraguay. Among his folkloric compositions, there are various regional dances; Danza Paraguaya No. 1 (c 1924), Danza Paraguaya No.2; Jha, Che Valle!, (c. 1923), and Danza Paraguaya No.3: London Carapé (c. 1909) exhibit some of his folkloric tributes to Paraguay. These three dances are based on Paraguayan rhythms and themes.

An obvious influence on many of Barrios' compositions is religion. At birth he was titled Agustín Pio Barrios, and from 1930 to his death he was recognized as Agustín Barrios Mangoré (Chief Nitsuga). In the year 1930, came the birth of Barrios' new persona, Cacique Nitsuga Mangoré, the "messenger of the Guarani race... the Paganini of the guitar from the jungles of Paraguay."
Barrios was a romantic, an idealist, and a humanist. Recognition and resignation to these truths are powerfully expressed in the major key section of his last piece Una Limosna por el Amor de Dios -- the composition closes with a definite affirmation of these eternal values that Barrios achieved and manifested throughout his life: love being the process, and truth, beauty and goodness being the byproducts. During the compositional process of Una Limosna por el amor de Dios, Barrios knew his end was near. After this final composition, Barrios spent his remaining days in tranquility, solace, and meditation, preparing himself for his own death. He began to suffer from heart trouble, and on August 7, 1944 he went into cardiac arrest and died. The priest who attended him proclaimed, "This is the first time I have witnessed the death of a Saint."

Barrios has clearly been one of the most underrated composers and players for the modern guitar. He was overshadowed by the work of Segovia and Villa-Lobos, even though his music was more virtuosic, more emotional, more skillfully conceived. "Barrios' music is very guitaristic, rather like Chopin is for the piano. In this way he has filled that need of every instrument to have its composer who "belonged" to the instrument and at the same time wrote great music." 25 His compositions are a revelation in the guitar repertoire. Always spontaneous, passionate, challenging, and true to the instrument. One may never tire of his versatility, artistry, and craftsmanship.