Anthology. Ten original works for cello and guitar, and a new work for flute, cello and two guitars. By Edwin Guevara.

14 min readMay 12, 2021

Painting painted by: Miquel Cazaña.

This anthology wants to present a short description of ten pieces that have been written for the unconventional cello and guitar duo. The repertoire for this chamber group has been growing in the last 20 years, and essential composers have expressed their ideas in this conformation of two instruments with similar registers. The combination of bow and plucked string techniques makes this duo’s timbre and expressive possibilities very extensive. All the works selected in this anthology have been written or dedicated to the Duo Villa-Lobos. They have been in charge of releasing them, and in the same way, they continue to encourage many composers to write for this format. The growth prospect of the repertoire for cello and guitar continues to grow. From the work of the Duo Villa-Lobos, new works and new duos have been created, which guarantees that this is a chamber group with an excellent present and an expanding future. The last selected work had its premiere on April 29. The idea of including it in this anthology is to make it known more. In addition, the Duo of Cello and guitar are united, with the more traditional duo of guitar and flute.

Quatre pieces intimes (1997). By Dusan Bogdanovic. (Serbia)

This work is one of the essential references within the repertoire for Cello and Guitar. The first recording of this work was made by cellist Rafael Hoekman on cello and by the same composer on “Canticles” in 2001. This work presents four movements, contrasting between slow and fast, with a great sense of expression and virtuosic. As a feature to highlight is the inclusion of changing rhythmic organizations typical of Balkan music. Likewise, the representation of David’s Harp in the third movement, which had ten strings and the sum of the strings between the cello and the guitar, has the same result. In 2017 the Duo Villa-Lobos included this great work in their first record production under the Naxos record label. About this work, the great musicologist Graham Wade writes for Naxos the following:

“Quatre pièces intimes are dedicated to Valter Dešpalj (b. 1947), the celebrated Croatian cellist and professor at the Zagreb Academy of Music. Prière is marked Largo tranquillo, bringing together cello and guitar in a reflective prayer. The lyrical lament played by the cello is contrasted against a gently dissonant guitar accompaniment. Mouvement, to be played Allegro molto, begins as a vigorous perpetual motion with rapidly changing time signatures. This gives way to syncopated harmonics from the guitar. The piece concludes with a resumption of the rhythmic impetus.

La Harpe de David opens with double-stopped cello harmonics. The guitar begins pensively and the cello, in reflective mood, joins in. The piece continues with a sad lament from the cello and a final harp-like arpeggio from the guitar. The final movement, Chant, involves a variety of shifting time-signatures from seven/sixteen to two/eight, nine/ten, and so on. This projects itself as highly dynamic rhythmic subtlety pressing onwards in exciting patterns.”

Reflexoes №6 (1986). By Jaime Zenamon. (Bolivia)

The great Bolivian composer Jaime Zenamon wrote this work in three movements that reflect concrete musical expressions. The first movement, called Fluid, is developed utilizing a scheme of Arpeggios of the guitar interpreted with the same technical formula. As an example of this, we can mention Study №1 by Heitor Villa-Lobos, Study №6 by Leo Brouwer, or Study of Virtuosity №2 by Gabriel Estarellas, among others. The Cello melody is very lyrical and beautiful. The second movement, called Doloroso, uses techniques and harmonic cadences typical of Spanish music. It is a movement that goes from a permanent harmonic tension to a state with a sound illusion of beauty in its final part, all the time with the same interpretive technique. It also includes a tremolo section for the guitar. The third movement reflects a very accentuated rhythmic characteristic in traditional South American music. It is an energetic and very virtuous movement, with a brilliant finish.The Duo Villa-Lobos had it on their Naxos album, and again Graham Wade wrote the following about the work:

“Reflexões №6 (1986) begins with Fluido, a movement which opens with a brilliant arpeggiated guitar accompaniment over which the cello performs an expressive melody. The guitar then moves to an episode with rhythmic chords to partner a new cello theme. Finally the cello plays a third theme, concluding with rhythmic elements reminiscent of the middle section. Doloroso, an elegant dance in three/four, introduces in its middle section a guitar tremolo with a pizzicato bass accompaniment. The intensity increases in the concluding part with truly doloroso feeling. Vivissimo is a tarantella-type dance in perpetual motion. The rhythmic pulse is relieved in a short episode where the cello articulates a poignant melody before the dance returns with energetically strummed guitar chords.”

Jobiniana №4 (2002). By Sergio Assad. (Brazil)

This work is part of a collection of four pieces for different formats. Sergio Assad pays tribute to Antonio Carlo Jobim for his outstanding contribution to the development of Brazilian music. The composer uses some typical Jobim musical elements and later gives them the personal and virtuous treatment characteristic of Assad’s works. Jobiniana №1 is written for two guitars, Jobiniana №2 is for Flute and Guitar, Jobiniana №3 is for solo guitar, and Jobiniana 4 is for Cello and Guitar. Graham Wade writes the following about this last Jobiniana in the recording of the Duo Villa-Lobos for Naxos:

“Jobiniana №4 (2002) is an extended work in one movement. An introductory section establishes the guitar and cello partnership until a short guitar solo moment quietens the mood. With the cello’s return, the pace increases in a corporate episode of great vitality. A further four bars of solo guitar ushers in a Molto espressivo interlude where a lyrical guitar accompaniment supports a lyrical cello theme. An energetic accelerando poco a poco steadily increasing in volume leads to a rumbustious dialogue between cello and guitar. A contrasting passionate episode ensues with delicate colours from each instrument. Eventually a series of responses between the instruments progresses to a thrilling accelerando coda.”

Tanzologia (2000). By Atanas Ourkouzounov. (Bulgaria)

This work written by the Bulgarian composer and guitarist Atanas Ourkouzounov presents three particular and contrasting moments. The first movement represents the use of Argentine tango, organizing eight eighth notes 3 + 3 + 2, as parallel to what Astor Piazzolla did at the time. This movement has a treatment of effects and harmonies characteristic of the composer’s works. The second movement, Valse Slave, presents a dialogue between the two instruments. The pizzicato effect makes the audience not know how to differentiate when each instrument is playing. The third movement, Bulgarian Rock, shows the fusion of Balkan polyrhythmic music with the rhythmic force of American Rock. Here are the words of Graham Wade:

“Tanzologia (2000) is a progressive work of considerable technical variety. Contempotango, the first movement, begins with rhythmic harmonics from the guitar against glissandi cello effects. The cello than performs a lyrical melody supported by a sophisticated guitar accompaniment. The rhythmic impetus increases with the cello played pizzicato with percussive techniques from the guitar. The movement modulates through distant keys before evolving into a dynamic coda. In contrast Valse-Slave marks out the waltz rhythm with a lightly scored opening. The atmosphere throughout is ethereal, a dance of the spirit rather than the body. Bulgarian Rock has the time signature of eleven/eight, creating the aura of indigenous folk culture. A middle section intensifies the mood with strummed guitar chords against an intricate cello theme. A virtuosic coda concludes the work in a brilliant blend of rhythmic and tonal effects.”

Fantasy for Cello and Guitar (2015). By Edwin Guevara. (Colombia)

This work has a compilation of different rhythms from Spain and Latin America. This combination is frequent in the works of the Colombian composer Edwin Guevara Gutierrez, the guitarist of the Duo Villa-Lobos, together with the Venezuelan cellist Cecilia Palma. The work represents the musical context where the composer’s work has been developed mainly. Each movement has a descriptive explanation, which led Graham Wade to write the following and to quote the composer’s words about the work:

“ Fantasy for cello and guitar was composed in August 2015 and premiered by the Duo Villa-Lobos at the Seventh Guitar Week of the Bank of the Republic of Colombia. The work overall is dedicated to Cecilia Palma, the composer’s wife. Individual movements are dedicated respectively to the composer’s mother, Elisa, his sister Deysy, and his father, Roberto.

The first five works are all in the previous Spotify link, which corresponds to the production “Music for Cello and Guitar” by Duo Villa-Lobos under the Naxos label.

The composer has written the following introduction to the work: “The first movement, Providence, evokes the motion of the waves at Del Mar de la Isla, on the Caribbean coast of Colombia. The second movement, Gràcia, refers to a suburb of Barcelona. Its musical structure begins with solos from each instrument in the style of a baroque chaconne, ending in the manner of Spanish renaissance variations. The central section includes Latin-American rhythms including the Vidala, Venezuelan waltz, Joropo, and the Colombian Pasillo and Guabina, with a recapitulation of the initial theme of the chaconne. The third movement, Cantalar, celebrates the municipality of Anna in the province of Valencia, Spain. This involves great virtuosity and a continuous dialogue between the two instruments involving Latin-American rhythms such as the Colombian Bambuco and Currulao, Milonga, Chacarera, and the Malambo from Uruguay and Argentina. Minimalist rhythmic transitions are featured here as well as a percussive episode combining all the rhythms presented in this movement. The recapitulation brings back the contrapuntal brilliance of the opening, culminating with a brief percussive section leading to a grand fortissimo Bartók pizzicato. This is the composition’s first recording.”

Lorquianas (2018). By Leo Brouwer. (Cuba)

Leo Brouwer is one of the composers who have marked a before and after composition for guitar. His way of composing explores sonorities never seen before on the guitar, using different avant-garde compositional currents. One of his most characteristic styles is the inclusion of traditional Cuban music in his works. His catalog of works for guitar and many formats is extensive. Lorquianas is one of his first works written for cello and guitar. The beginning represents some characteristics of his sonata for solo cello, and later when the guitar enters, music is produced in the style of a lullaby. The second movement has a direct relationship with Spanish music due to its continuous syncopations. The harmony has the tension of the dominants of flamenco. There is a fascinating dialogue between the two instruments expressively and energetically. Lorquianas is dedicated to the Duo Villa-Lobos. They performed the premiere at the Conservatorio del Liceo de Barcelona, with the composer’s presence. Two poems inspire the work by the great poet Federico Garcia Lorca, Memento, and Madrigalillo.

This video, where one of the most legendary flamenco guitarists called Sabicas plays, presents an example where the harmonic central axis is the dominant one.

Gran Concierto Sinfónico Op. 198 “La Madre Monte” (2016). By Jaime Zenamon (Bolivia).

The repertoire of cello and guitar has been growing in recent years. One of the frequent problems in the writing of works for this group is the sound balance. Now, let’s imagine having the cello and the guitar as soloists with a symphony orchestra. At first, it seems unthinkable. However, the great Bolivian composer composed this concert in a concert form. The soloists are balanced, and everything they play is heard perfectly. Jaime Zenamon had one of the essential cello and guitar duos in Berlin in the last century and has composed many works for this format. He knows his role as a performer and as a composer perfectly. This is one of the few concertos for cello, guitar, and orchestra. Its rhythm is very syncopated and energetic, contrasting with lyrical singing moments of great beauty. The central cadence was created by the Duo Villa-Lobos, to whom the concert was dedicated. Its name represents one of the mythological legends of the Amazon border region between Colombia and Brazil. The concert was premiered in Ann Arbor, Michigan, by the Duo Villa-Lobos and the University of Michigan Orchestra, under Oriol Sans Arrufat. There are few concerts with the same characteristics. It is worth mentioning that there is another unreleased concert, also dedicated to the Duo Villa-Lobos, called Ricercare Concert, by the Spanish composer Jorge Miguel Gonzalez.

Divertimento a dos Op. 249 (2019). By Blas Emilio Atehortua. (Colombia)

The work Divertimento a dos Op. 249 begins in 17 ‘ 28’’

To speak of Blas Emilio Atehortua is to say of a Latin American genius. His extensive catalog includes works for all orchestral formats, chamber music, soloists, film music, etc. His pretty prolific career highlighted him as one of the most important Latin American composers of all time. His academic training was under the guidance of Alberto Ginastera and Nadia Boulanger. His compositional language encompasses many avant-garde styles, including the nationalism of his native Colombia. The work Divertimento a dos Op. 249, for cello and guitar, was the last work of the composer, which was dedicated to the Duo Villa-Lobos. Blas Emilio Atehortua has been the teacher of many generations of composers, including the guitarist, Edwin Guevara. The play was premiered worldwide in the digital concert series of the Colon Theater in Bogota and the arcadia magazine.

La Gruta de los Lobos (2019). By Ricardo Pauletti. (Brazil)

Throughout its history, Brazil has had essential composers who have exalted Brazilian musical nationalism by using its traditional rhythms such as choro, baiao, waltz, etc. Radames Gnatali, Hector Villa-Lobos, Egberto Gismonti, Antonio Carlo Jobim, Sergio Abreu, Sergio Assad, etc., are composers who have been recognized for their outstanding contribution to the music of Brazil. Ricardo Pauletti is one of the composers who has created a whole school of works for solo guitar and chamber music. His style is full of harmonic colors and contrasting rhythms. The catalog of his creation is extensive. In the last few days, he published an exciting series of guitar studies with total influence from his native Brazil. The Grotto of the Wolves is a lyrical work, with a very expressive cello song and excellent harmonies on the guitar. The second part is rhythmic and very dynamic, where it makes simultaneous counterpoints and homophonies of great sonic richness. The work was dedicated to the Duo Villa-Lobos, which was premiered in a virtual world at the International Festival of Dedilhadas Strings in Brazil. Ricardo Pauletti has been one of the most influential composers in Brazil for several years.

Rhodope, Song and Dance (2020). By Atanas Ourkouzounov. (Bulgaria)

The music of Atanas Ourkouzounov has been vital in the renewal of the great catalog of works for guitar and chamber music. His style, very contemporary and nationalistic, always includes traditional music from the Balkans in Eastern Europe. His record is extensive, and almost weekly, we can see the new works that he has composed. He has three major works for cello and guitar, Tanzologia, Scherzo a Ten Strings, and Rhodope, Song, and Dance. The Duo Villa-Lobos has performed the three works, and the last of them was dedicated to them. The first movement represents a type of song called Rhodope, which is melismatic and free. It uses a large number of melismatic movements, generating a meditative sound. The dance represents the traditional polyrhythmic organization of Balkan music, with permanent beat changes, which makes the work have a very marked contrast. This work was premiered worldwide by the Duo Villa-Lobos virtually at the Morelia International Guitar Festival in Mexico.

Ibero — American Landscapes, for Flute, Cello and Two Guitars (2021). By Edwin Guevara (Colombia).

Ibero-American Landscapes is a work written for flute, cello, and two guitars. The melodic and harmonic elements are based on creating a specific series with the name of each of the interpreters who will perform the world premiere. In other words, each letter of names and surnames has a sound correspondence on the chromatic scale. Similarly, the harmony is made with the same serial system, seeking a balance with the traditional harmony. The presentation of the name of each guest musician can be heard in small individual ad libitum cadences, during each rhythmic section or transition, and in the final part of the work where all the performers play the specific series in a virtuous way to give closure to the idea of the composer. The work receives Ibero-American Landscapes’ title to use different rhythms of the Spanish, American, and Latin American traditions. Each rhythm provides a general idea of each country, transformed through a permanent sound journey without interruptions throughout the work. The rhythms used are Latin, Zamba, Buleria, Vidala, Guabina, Pasillo, Different Waltz, Huapango, Marinera, Venezuelan Merengue, Choro, Bossa Nova, Huayno, Milonga, Random Serial Section, Bambuco, Cueca, Tonada, Gato, Paraguayan Dance, Tango, Baiao, Joropo, Blues, Swing, Chacarera and Malambo. This selection of 30 Latin American rhythms was made for being some of the main popular rhythms of Spain, Argentina, Uruguay, Paraguay, Bolivia, Chile, Peru, Ecuador, Brazil, Venezuela, Colombia, Cuba, Puerto Rico and the United States. Similarly, the work presents the work of four great genres, classical music, popular music, jazz, and flamenco. The composer’s fundamental characteristic in his works is the inclusion and development of many of the Ibero-American rhythms, taking into account that he is a recognized specialist in these genres. Latin American Landscapes was completed on April 9 202. Ibero-American Landscapes will be published in the publishing house where the composer publishes his works, Bergmann Editions de Denmark. Dr. Mattew Mugmon commissioned this work for the University of Arizona Introductory Music Literature course and his Premieres Across History series. Its world premiere was held at the Crowder Hall of the Fred Fox School of Music on April 29. The artists invited to the premiere were the Tucson Ibero-American Quartet, made up of Flute: Diana Nicole Schaible (United States), Cello: Cecilia Palma (Venezuela), Guitar: Misael Barraza — Diaz (Mexico), Guitar, composition, and direction Edwin Guevara (Colombia).