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Manuel
Barrueco and Chris Amelotte
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This interview took place on
November 5, 1978
Mr. Amelotte:
Manuel, your technical facility is remarkable. Could you describe
the process that brought you to your present day technique.
Mr. Barrueco:
Well, first of all about the expression "remarkable" - I guess
I don't think in those terms. There are times when people make
comments about my technique. Most of the time, if I told you
all of the time, it would be false modesty, but most of the
time I have a hard time understanding their praise. When I'm
playing and everything is going my way I really feel like I
have a special talent technically, but this happens to everyone
when they're having a good day. However, when I am having a
bad day I find it hard to identify with a word like "remarkable."
How did I arrive at my present technique? I don't know. . I've
been playing a long time. I'm sure there is some natural ability,
but in general, I've worked hard lots of exercises, lots of
playing time
Mr. Amelotte:
Did you spend much time concentrating on technical studies?
Mr. Barrueco:
Well, my teachers at the beginning, did put a lot of emphasis
on practicing technical exercises. I remember the two largest
areas of concentration were scales and arpeggios. For the last
few years it hasn't been like that. I still practice exercises',
but it's more than just scales and arpeggios. Lately, I've been
thinking more in terms of control or efficiency than let's say,
speed.
Mr. Amelotte:
I assume analysis played an important part in your development.
Were you analytical from the beginning?
Mr. Barrueco:
No, I wasn't. I think the analytical part came about when I
saw that I could play, but couldn't control it. I could play
the same passage very well and the next time very poorly. I
knew something wasn't right in these moments and that's when
I started becoming much more analytical. The analysis, in turn,
helped my control.
Mr. Amelotte:
Were there facets of study that you would avoid if you had to
learn all over again?
Mr. Barrueco:
Well I hope it doesn't sound egotistical to say I feel pretty
good about what I'm doing with the guitar, both technically
and musically. And this state is a direct result of my development,
so I guess you could say I feel good about that as well. When
I see inefficiencies in my playing I sometimes wish that I had
been better trained in that area. This, I have thought about,
but I haven't thought in terms of 'I wish I hadn't studied with
this particular teacher or the like.' I am very happy that I
came in touch with the people I did. I wish I had spent more
training on control. I don't like to think of the guitar as
being more difficult in terms of control than any other instrument.
Sometimes I want to do something with a certain piece. I can
hear how it should sound and I am frustrated unless I can reach
that standard. I sometimes find myself blaming this on a certain
lack of training, but it could be that I am very self-critical,
to the point of getting sick. Maybe it's not a lack of training,
but a process of maturing. It gets confusing.
Mr. Amelotte:
What do you recommend with regards to pedagogy for a student
of guitar today?
Mr. Barrueco:
When it comes to appraoch there's no one that I would recommend
over another. As far as pedagogy is concerned, it's too new
- we haven't been around long enough. I don't feel we're at
a point yet where we can say this is better or this is worse
about something that takes so long to evolve.
Mr. Amelotte:
Technique and musicianship, should one be learned before the
other or concomittantly?
Mr. Barrueco:
They should probably be studied together. I do believe that
first you have to get the notes. I don't think it's any good
to have all these great musical ideas without the ability to
convey them. On the other hand, if one has all the technique
in the world has nothing to say, what good is that? Both are
important -neither should be neglected.
Mr. Amelotte:
How important is it for today's Guitarist to pursue conservatory
or college training?
Mr. Barrueco:
Well. I think it ii very important providing the conservatory
is one of quality. It is the teachers at the conservatory that
determine that quality. I think that in a conservatory a guitarist,
without much effort, can expand his horizons and can be exposed
to ideas other than that of guitarists. I was lucky to have
very good teachers, but in addition to this I learned a great
deal out of the classroom talking with other musicians.
Mr. Amelotte:
How did your friendship with Leo Brower, come to be?
Mr. Barrueco:
I remember the first time I was to play for him. It was a special
memory for me. I was in the hospital in Cuba. I was eleven,
and I begged the doctor to let me go early so that I night play
for Brower. The doctor allowed this and I did get to play. I
was very impressed with Brower. He was very nice and very responsive.
After that, my teachers would say that Brower would say things
like watch out for the kid with the big head, he's going to
go some where.
Whenever he Came to town. I took every opportunity to be around
the man, to listen to him talk, to lean from him. He would do
certain things that just won me over. I remember one time he
came to town and because I was sick I couldn't go to see him.
I was heartbroken. Who called list night to say goodbye and
that he was sorry he couldn't see me? Leo Brower. I couldn't
have been any older than twelve a thirteen. I tell you, I really
admire the man, both as a musician and a person.
Mr. Amelotte:
And when you came to the United States?
Mr. Barrueco:
I came over from Cuba in 1967, I didn't see him again until
Toronto in, I think 1975. I went there really, to see Brower.
It was a great experience. Since I had come over (to the U.S.)
I had bragged so much about him. I knew that I had improved
and was a little afraid of being let down. But when I heard
his concert in Toronto couldn't believe it. It was not a letdown.
I was so happy to see him play that well.
In looking back, I knew him best when I was young. I must have
been fourteen the last time I saw him in Cuba. It was not a
friendship where we could interact that much. I don't know how
he thought of me, maybe like a little puppy following him around.
Mr. Amelotte:
Can you tell us something about your feelings on the music of
Brower
Mr. Barrueco:
Well...I cannot be objective about the man, I really can't.
With his music, with most of his music, I feel at times as though
I have written it myself. This has nothing to do with my affection
or admiration for the man, it has to do with the music itself.
I think 'My God, I can really feel this.' So, as far as the
feeling of the music, I think it's probably closer, not probably,
definitely closer to me than any other composer
Mr. Amelotte:
How would you describe the style of Brower compared to that
of other contemporary composers?
Mr. Barrueco:
I'd say from The Elogio de la
Danza forward through theCanticum
and up to the Spiral,
even though I've only read through this last piece, there is
a very strong element of the guitarist- composer. Just by the
looks of the music I would know it was his. I see him in a way,
as a modern Villa-Lobos. The way Villa-Lobos explored certain
patterns on the guitar, certain physical elements of guitar
that had a musical result. For example, in the middle of the
2nd Prelude of Villa-Lobos or in some of his Etudes, you see
passages, like fixed positions. that wouldn't fit any other
instrument. It had to be conceived from the guitar.
Brower has this talent. I think he's taken it one step further
and created maybe a little more complicated sonorities or more
complicated patterns, that come out of the instrument. So as
a result of all this, his music…It speaks guitar. I also find,
through his use of rhythm and the like, a lot of punch or strength
very outgoing, colorful and even a little catchy.
Mr Amelotte:
What other modern composers intrigue you?
Mr. Barrueco:
Takemitsu intrigues me. I like the British composers, Britten,
Walton, etc., very much. I like Henze very much as well. There's
also a friend of mine from New York who writes very well named
Luis Jorge Gonzales.
Mr. Amelotte :
Ideally, what developments in the guitar world would you like
to see take place in the future? Mr. Barrueco:
I would like to see better music written for guitar, better
guitarist, just an overall improvement. There is room for improvement
in almost every area. We've progressed tremendously up until
now with a bright future still ahead.
Mr. Amelotte:
Thank you Manuel, and if the future can bring us the continued
excellence of ManueI Barrueco then I look forward to it.
Mr. Barrueco:
Thank you. |
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