AGUSTIN BARRIOS MANGOR, "LA CATEDRAL"

Version and Fingering: Renato Bellucci

Barrios dedicated this monumental work to a beautiful Cathedral in downtown Montevideo (for many
years it was thought that the piece was dedicated to Asuncion Cathedral in Paraguay or San Jose
Cathedral in Uruguay... one thing is for sure, the three Cathedrals are very much similar). The Andante
is a religious, mystique and deep movement which prepares the terrain for the impressionistic Allegro

Solenne. In the picture you see Ana Vidovic playing my restored Barrios Guitar.

Barrios promoted his career depicting himself as a virtuoso Guarani Indian chief (the aborigine
population of Paraguay) who played the guitar and composed in all styles. His artistic name Nitsuga
Mangore was created reverting his first name from Agustin to Nitsuga, and adding the name of a
mythical guarani indian chief Mangore. He actually played on stage dressed like an indian with
feathers and all. In the picture, you can see a close up of Barrios' 1918 Marin Guitar completely
Restored by my team of luthiers.
The top of the poster reads: Domingo 10 de Septiembre (1935)-Sunday, Sept. the 10th (1935)- A las 9
pm en punto -At 9 PM sharp- Definitiva despedida, Un solo concierto, precios popularisimos -A final
good bye, one concert only, extremely cheap price -To the left of the image it reads: Ultima
oportunidad para escuchar al gran artista guarani -last chance to hear the great guarani artist - To the
right: Su arte eleva el espiritu a las regiones de la gloria- His art elevates the spirit to the vicinity of
glory.
Under the picture: Mangor, la guitarra en sus manos se convierte en una gran orquesta -Mangore, the
guitar in his hands turns into a grand orchestra. The program: Part 1: Fantasia en Mi, Vinas; Capricho
Arabe, Tarrega; Les Patineurs, Waldteufel; Tarantela, Mangore. Part 2: Preludio y fuga, Bach; Minueto,
Beethoven; Preludio, Schumann; Gran fantasia, Arcas. Part 3: Fandanguillo, Turina; Gavota romantica
Czibulka; Un sueno en la floresta, Mangore; Diana Guarani, Mangore.
The outer left side of the poster reads: No habra matinee a las 10:30 am -There will be no matinee at
10:30 AM The outer right side Nunca volvera a oir a otro artista de igual fama- You will never again
hear an equally famous artist.
Mangore's La Catedral is one of the most challenging guitar pieces you will ever play. If you want to
include a major work in your repertoire, this is definitely the one piece to have. The challenge does not
lie in any of the single sections of the work but in the sum of all the different sections. The left hand is
drained of all its energy by the time you reach the mid part of the third movement, right where a major
run comes and numbness is all you get if you did not work your way up to it properly.

Staff and Video 1

In the same spirit as the C minor prelude, Barrios presents a smooth arpeggio with the singing top
notes. Fijacion in the a finger is what it takes to achieve the effect. Hold the high E in measure 3 all the
way into the high G. This prelude was written a few years after the other movements. It is as if Barrios
wanted to put some more icing on the cake.
Video 1

Staff and Video 1

The notes with the arrow are meant to stand out. See the paragraph that covers this issue in the
technique pages. The yellow triangle stands for pivot (technique pages). The hand will rotate around
finger 4 to change presentation in order to play the A chord. If you can live without the portamento
between the F and the B in measures 2 & 3, you can play the high B on string 2 and simply rotate the
hand for the upcoming chord.
Video 1

Staff and Video 1

The reason I lift finger 1 is to allow for less energy to be wasted during performance, energy which will
be badly needed towards the middle section. What I think makes the Allegro one of the most
challenging pieces for guitar is the fact that it requires total control over technique. The performer
must learn how to use the strength and stamina in both hands. It is the key to success in trying to play
the allegro and every demanding piece in general. Take the first measure and repeat it slowly. Move the
model down the fingerboard all the way to the D on string 5 and than go back to the B on the same
string. (this is the "make your own exercise" concept which is at the base of creative technique.. your
technique. Apply the same principle to measure 2 and so on. The arpeggio can be quite a finger twister
unless practiced separately.
Video 1

Asuncin, September 16,

2003
Revision: San Bernardino, January 12, 2013