![\"\"](\"http:\/\/mickyandoniehn.com\/radio\/wp-content\/uploads\/2023\/05\/Agustin-Barrios-Mangore-221x300.jpg\")
<\/p>\n<\/p>\n
<\/p>\n
Fecha de nacimiento: <\/strong>8 mayo 1885<\/p>\n Fecha de Fallecimiento: <\/strong>7 agosto 1944 (con 59 a\u00f1os)<\/p>\n Biograf\u00eda<\/strong><\/p>\n Agust\u00edn P\u00edo Barrios, tambi\u00e9n conocido como “Nitsuga Mangor\u00e9”, (nacido el 5 de mayo de 1885 en San Juan Bautista de las Misiones – fallecido el 7 de agosto de 1944 en San Salvador, El Salvador) es un guitarrista cl\u00e1sico y compositor paraguayo de origen guaran\u00ed.<\/p>\n Nacido en la ciudad de San Juan Bautista Misiones, fue miembro de una numerosa familia con gran inter\u00e9s en la m\u00fasica, prueba de ello es que sus siete hermanos tocaban un instrumento cada uno y formaban la Orquesta Barrios. Su padre fue el argentino Doroteo Barrios, c\u00f3nsul de su pa\u00eds en Misiones y su madre Martina Ferreira, profesora (directora) de la escuela de ni\u00f1as de Villa Florida.<\/p>\n Hasta los 13 a\u00f1os Agust\u00edn integr\u00f3 la Orquesta Barrios y un d\u00eda de 1898 luego de un concierto se acerc\u00f3 el maestro Gustavo Sosa Escalada y lo acogi\u00f3 como pupilo y fue introducido formalmente al repertorio de la guitarra cl\u00e1sica. Bajo la influencia de su nuevo gu\u00eda, Barrios pas\u00f3 a estudiar las obras m\u00e1s conocidas de los compositores m\u00e1s importantes de guitarra cl\u00e1sica hasta ese momento, como: Francisco T\u00e1rrega, Jos\u00e9 Vi\u00f1as, Fernando Sor, Dionisio Aguado, Juli\u00e1n Arcas y Joaquin Parga. Sosa Escalada estaba tan impresionado con su nuevo alumno que convenci\u00f3 a los padres del joven Agust\u00edn para que lo dejasen mudarse a Asunci\u00f3n para continuar su educaci\u00f3n musical y acad\u00e9mica en el Colegio Nacional de la Capital, donde tuvo como Instructor a Nicolino Pellegrini.<\/p>\n Luego de graduarse del Colegio Nacional, comenz\u00f3 a presentarse en conciertos y a componer. Su primera presentaci\u00f3n como solista fue en 1907 en un espect\u00e1culo organizado por Sosa Escalante. En 1908 ya era conocido en todo el Paraguay, por sus presentaciones con su hermano, el poeta Francisco Mart\u00edn Barrios. Agust\u00edn tocaba la guitarra y Francisco recitaba.<\/p>\n En 1910 Barrios sali\u00f3 por primera vez del pa\u00eds para ofrecer un par de presentaciones en Corrientes (Argentina), y debido al gran \u00e9xito que tuvo, aquel regreso planeado para la semana siguiente de los conciertos se pospuso por 12 a\u00f1os. De Corrientes pas\u00f3 a Buenos Aires y de all\u00ed viaj\u00f3 a Uruguay en 1912, Brasil en 1916, y a Chile. Pertenecen a este periodo obras notables como: La Catedral (1921), Estudios y Preludios, Madrigal, Allegro Sinf\u00f3nico y Las Abejas (1921). La cr\u00edtica internacional lo calificaba como uno de los m\u00e1s grandes concertistas del mundo y lo llamaban mago de la guitarra.<\/p>\n Cuando Agust\u00edn Barrios se encontraba en S\u00e3o Paulo, Brasil, El Diario de Asunci\u00f3n, anunci\u00f3 el 13 de setiembre de 1918 su fallecimiento. El art\u00edculo dec\u00eda: En Melo, en la Rep\u00fablica del Uruguay, le sorprendi\u00f3 la muerte al eximio artista paraguayo, en los primeros d\u00edas del mes del corriente. Con el alma llena de melod\u00edas y repleto el pecho sonoro de su guitarra de toda la m\u00fasica de nuestras selvas y el dolor melanc\u00f3lico y hura\u00f1o de la raza, se fue por el mundo, como una rapsodia, para decir a los hombres su dulce, su triste canci\u00f3n, hasta que le alcanz\u00f3 la muerte, como a un p\u00e1jaro la honda. Tuvieron que pasar m\u00e1s de 30 d\u00edas para que la noticia fuera desmentida.<\/p>\n Luego de 12 a\u00f1os, Agust\u00edn y su hermano Francisco retornaron al Paraguay que se encontraba en una guerra civil, a pesar de la cual realiz\u00f3 varias presentaciones en Asunci\u00f3n como en el interior. El music\u00f3logo Juan Max Boettner menciona: Lo recuerdo all\u00e1 por 1922, en una noche de luna en San Bernadino. El con su guitarra embrujada deleit\u00e1ndonos horas enteras. Su hermano recitaba “Oyendo a Beethoven” y el ejecutaba como m\u00fasica de fondo “Claro de luna” en una adaptaci\u00f3n propia.<\/p>\n El 14 de agosto de 1932 se present\u00f3, en Bah\u00eda, Brasil, como Nitsuga Mangor\u00e9, el Paganini de la guitarra de las selvas del Paraguay, donde la palabra Nitsuga corresponde a Agust\u00edn, escrito al rev\u00e9s; y Mangor\u00e9 viene de un legendario jefe guaran\u00ed que pele\u00f3 ante la conquista espa\u00f1ola; adem\u00e1s del nombre, adopt\u00f3 tambi\u00e9n la idea de presentarse en concierto con trajes tradicionales de Paraguay.<\/p>\n El 7 de agosto de 1944 sufri\u00f3 un infarto que le ocasion\u00f3 la muerte a los 59 a\u00f1os. El sacerdote que lo acompa\u00f1\u00f3 en su agon\u00eda coment\u00f3 que Barrios dijo: “No temo al pasado, pero no s\u00e9 si podr\u00e9 superar el misterio de la noche”. Est\u00e1 enterrado en el Cementerio de Los Ilustres en San Salvador.<\/p>\n Date of birth<\/strong> 8 may 1885<\/p>\n Date of Died<\/strong> August 7, 1944 (age 59)<\/p>\n Biography<\/strong><\/p>\n Agust\u00edn P\u00edo Barrios, also known as “Nitsuga Mangor\u00e9”, (born May 5, 1885 in San Juan Bautista de las Misiones – died August 7, 1944 in San Salvador, El Salvador) is a Paraguayan classical guitarist and composer. Guarani origin.<\/p>\n Born in the city of San Juan Bautista Misiones, he was a member of a large family with a great interest in music, proof of this is that his seven brothers each played an instrument and formed the Barrios Orchestra. His father was the Argentine Doroteo Barrios, consul of his country in Misiones and his mother Martina Ferreira, teacher (director) of the Villa Florida girls’ school.<\/p>\n Up to the age of 13, Agust\u00edn joined the Barrios Orchestra and one day in 1898, after a concert, maestro Gustavo Sosa Escalada approached him and welcomed him as a pupil and he was formally introduced to the classical guitar repertoire. Under the influence of his new guide, Barrios went on to study the best-known works of the most important classical guitar composers up to that time, such as: Francisco T\u00e1rrega, Jos\u00e9 Vi\u00f1as, Fernando Sor, Dionisio Aguado, Juli\u00e1n Arcas and Joaquin Parga. Sosa Escalada was so impressed with his new student that he convinced the parents of the young Agust\u00edn to let him move to Asunci\u00f3n to continue his musical and academic education at the National College of the Capital, where he had Nicolino Pellegrini as Instructor.<\/p>\n After graduating from Colegio Nacional, he began performing in concerts and composing. His first appearance as a soloist was in 1907 in a show organized by Sosa Escalante. In 1908 he was already known throughout Paraguay, for his presentations with his brother, the poet Francisco Mart\u00edn Barrios. Agust\u00edn played the guitar and Francisco recited.<\/p>\n In 1910 Barrios left the country for the first time to offer a couple of presentations in Corrientes (Argentina), and due to the great success he had, that planned return for the week following the concerts was postponed for 12 years. From Corrientes he went to Buenos Aires and from there he traveled to Uruguay in 1912, Brazil in 1916, and Chile. Notable works belong to this period such as: La Catedral (1921), Estudios y Preludios, Madrigal, Allegro Sinf\u00f3nico and Las Abejas (1921). International critics described him as one of the greatest soloists in the world and called him a guitar magician.<\/p>\n When Agust\u00edn Barrios was in S\u00e3o Paulo, Brazil, El Diario de Asunci\u00f3n announced his death on September 13, 1918. The article said: In Melo, in the Republic of Uruguay, the death of the distinguished Paraguayan artist surprised him, in the first days of the current month. With his soul full of melodies and the sonorous chest of his guitar full of all the music of our jungles and the melancholy and sullen pain of the race, he went through the world, like a rhapsody, to tell men his sweet, his sad song, until death overtook him, like a slingshot to a bird. It took more than 30 days for the news to be denied.<\/p>\n After 12 years, Agust\u00edn and his brother Francisco returned to Paraguay, which was in a civil war, despite which they made several presentations in Asunci\u00f3n and in the interior. Musicologist Juan Max Boettner mentions: I remember it back in 1922, on a moonlit night in San Bernadino. He with his haunted guitar delighting us for hours on end. His brother recited “Hearing Beethoven” and he played “Claro de luna” as background music in his own adaptation.<\/p>\n On August 14, 1932, he appeared in Bahia, Brazil, as Nitsuga Mangor\u00e9, the Paganini of the guitar from the jungles of Paraguay, where the word Nitsuga corresponds to Agust\u00edn, written backwards; and Mangor\u00e9 comes from a legendary Guarani chief who fought against the Spanish conquest; In addition to the name, he also adopted the idea of \u200b\u200bperforming in concert with traditional Paraguayan costumes.<\/p>\n On August 7, 1944, he suffered a heart attack that caused his death at the age of 59. The priest who accompanied him in his agony commented that Barrios said: “I do not fear the past, but I do not know if I will be able to overcome the mystery of the night.” He is buried in the Los Ilustres Cemetery in San Salvador.<\/p>\n Discografia<\/strong><\/p>\n Fecha de nacimiento: 8 mayo 1885 Fecha de Fallecimiento: 7 agosto 1944 (con 59 a\u00f1os) Biograf\u00eda Agust\u00edn P\u00edo Barrios, tambi\u00e9n conocido como “Nitsuga Mangor\u00e9”, (nacido el 5 de mayo de 1885 en San Juan Bautista de las Misiones – fallecido el 7 de agosto de 1944 en San Salvador, El Salvador) es un guitarrista …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-28424","page","type-page","status-publish",""],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/pages\/28424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/comments?post=28424"}],"version-history":[{"count":3,"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/pages\/28424\/revisions"}],"predecessor-version":[{"id":75213,"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/pages\/28424\/revisions\/75213"}],"wp:attachment":[{"href":"http:\/\/mickyandoniehn.com\/radio\/wp-json\/wp\/v2\/media?parent=28424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n\n
\n Genero Guitarra\u00a0<\/strong>Cl\u00e1sica<\/b><\/td>\n Escuchar tema<\/strong><\/td>\n A\u00f1o\u00a0<\/strong><\/td>\n<\/tr>\n \n <\/td>\n Guitar\u00a0<\/strong>Works<\/b><\/td>\n 2006<\/strong><\/td>\n<\/tr>\n \n 1<\/td>\n Valse, op. 8 no. 3<\/td>\n <\/td>\n<\/tr>\n \n 2<\/td>\n Las abejas<\/td>\n <\/td>\n<\/tr>\n \n 3<\/td>\n Julia Florida<\/td>\n <\/td>\n<\/tr>\n \n 4<\/td>\n Dinora<\/td>\n <\/td>\n<\/tr>\n \n 5<\/td>\n Vals brillante, op. 8 no. 4<\/td>\n <\/td>\n<\/tr>\n \n 6<\/td>\n Una limosna por el amor de Dios<\/td>\n <\/td>\n<\/tr>\n \n 7<\/td>\n Mabelita<\/td>\n <\/td>\n<\/tr>\n \n 8<\/td>\n Escala y Preludio<\/td>\n <\/td>\n<\/tr>\n \n 9<\/td>\n Estudio en arpegio<\/td>\n <\/td>\n<\/tr>\n \n 10<\/td>\n Estudio en sol menor<\/td>\n <\/td>\n<\/tr>\n \n 11<\/td>\n Estudio de Concierto No. 1<\/td>\n <\/td>\n<\/tr>\n \n 12<\/td>\n Estudio del Ligado<\/td>\n <\/td>\n<\/tr>\n \n 13<\/td>\n Medall\u00f3n antiguo<\/td>\n <\/td>\n<\/tr>\n \n 14<\/td>\n Gavota al Estilo Antiguo<\/td>\n <\/td>\n<\/tr>\n \n 15<\/td>\n Hommage a Bach<\/td>\n <\/td>\n<\/tr>\n \n 16<\/td>\n Un sue\u00f1o en la floresta<\/td>\n <\/td>\n<\/tr>\n \n 17<\/td>\n Estilo Uruguayo<\/td>\n <\/td>\n<\/tr>\n \n 18<\/td>\n Danza paraguaya no. 1<\/td>\n <\/td>\n<\/tr>\n \n 19<\/td>\n Jha, Che Valle<\/td>\n <\/td>\n<\/tr>\n \n 20<\/td>\n C\u00f3rdoba<\/td>\n <\/td>\n<\/tr>\n \n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"