An Analysis of Verdi’s “Lachrymose” from the Requiem

Tears Appealing Judgment:
An Analysis of Verdi’s “Lachrymose” from the Requiem

By Sara Hartley Llewellyn (nee. Frister)
April 1998

The deep, bitter realization that every great creator of music in Italy had perished prompted Verdi to compose his Requiem. He expressed a great emotion in the tearful “Lachrymose”. Here within we will expose the history and painful motivation of this work, analyze a 1937 musical critique by Donald Tovey, and give a technical analysis of the text and music.
The conception of Verdi’s Requiem began in 1868, with the death of Giachino Rossini, a beloved friend and mentor. Having recently lost all hope for the political situation of his homeland, Italy, Verdi believed that hope for the quality of Italian music, as well, had died with Rossini. He believed that a Requiem should be composed to commemorate the death of such greatness. Nine days after this death Verdi published a general letter directed to all of the most accomplished musicians in Italy. In it he proposed the composition of a Requiem, to be performed on the anniversary of Rossini’s death, commemorating his contribution to their country.
After frustrating complications and numerous delays in the creation of this Missa per Rossini, Verdi began to compose his own requiem based on his intended contribution to the project, the “Libera me”. The composition on Verdi’s Missa da Requiem was officially undertaken in 1873, upon the death of writer Alessandro Manzoni, who’s novel I promessi sposi Verdi called “one of the greatest (books) ever to emerge from a human brain”.
The Requiem premiered in Milan on May 22, 1874 on the first anniversary of Manzoni’s death. The work was received enthusiastically at this, and three other performances that week in Milan. It was also well received in subsequent performances that year in Paris and New York. One of the very few negative opinions of the work was published by Hans von Bülow in the Allgemeine Zeitung, stating that, “the dominant style (of the Requiem) is that of his last manner (of Aida)…improved to its disadvantage”. To this Brahms wrote, after reading the score, “Bülow has disgraced himself for all time; only a genius could write such work”.
In 1937 an early twentieth century English music scholar, Donald Francis Tovey, gave his critique of this work. Tovey graduated with classical honors from Balliol College, Oxford, in 1898 and was appointed the Reid Chair of Music at Edinburgh University in 1914. Deemed an “acid critic” by his peers, he was primarily interested in educating the concert going public with analytical notes of intellectual programs.
Despite his strong performance, teaching, and compositional skills, Tovey’s greatest mark was left through his musical analysis. Essays in Musical Analysis, which dated from 1935-39, began as an extensive series of program notes for the Ried concerts which created “new standards in English writing about music”. Known by music scholars as one of the best organized minds and most insightful evaluators of music in the early twentieth century, Tovey is influenced by a scholarly bias.
Also guided by an acute emotional bias in this critique he categorized Verdi’s work as one of the greatest Requiem Masses to be composed since that of Mozart. According to him, this work “stands before the throne at no disadvantage from its theatrical style”. Although not containing the rich ideals of the church established by Palestrina three hundred years earlier, it is of “flaming sincerity… Verdi’s Requiem is full of strokes of genius; and they are, one and all, architectonic features”.
The text of the “Lachrymose” movement of the Requiem is taken directly from the thirteenth century quatrain by Thomas of Celano, with two additional unmetered lines which were added later. (fig. 1) This poem is a tearful plea to God for mercy on the souls of sinners on the day of judgment. It contains three main affects.
The first section of text is of grief and lamentation, and specifically a proclamation about the tearful scene which will occur on judgment day. It is the longest of the three sections of text, with an iambic syllabic stress and rhyming a, a, b form.
The quatrain form of the text is completed by the first line of the second section of text. In his setting Verdi chose to divide up the poetic structure of the text to clearly define the sections more dramatically according to affect. This section is a pleading prayer to the supreme God, and the immortal Jesus for mercy. It is used as an interlude of relief between sections of grieving which reoccur in the first theme.
The final theme is a plea for rest. This unmetered text states the resolution of tension created in the contrast of the first two themes. This only occurs in the music after the initial themes have exhausted their struggles and are ready for the simple resolve. The Amen then places the ultimate fate of those being judged into the hands of God.
Verdi’s sensitive setting of the text of the “Lachrymose” is intricately displayed in each feature of the music. He uses melody, harmony, orchestration and dynamics to bring across the tearful, pleading drama. These musical ideas correspond with the arrangement of the text.
The first theme is the most important melodic idea in the work. (fig. 2) Its tearful affect is shown in the minor mode, con molta espressive marking, slow, Largo introduction, and simple, unornamented melody. This them reoccurs many times throughout the work, first occurring twice in its pure, solo form, then developing with each repetition. Even during the statement of the second theme, such as at m. 641, fragments of the first sound quiet persistence in secondary voices. (fig. 3)
This next theme acts as melodic relief from the first. It is a break in the tension which is characterized by the major mode, dolcissimo marking, pianissimo dynamic, and high, angelic range. It is particularly effective in creating a mounting climax and revealing the great advantages to the possibility of God’s mercy.
Verdi uses many strokes of genius in setting this text harmonically. One could analyze this work within the context of a harmonic, sonata form. (see graph) The pulsing, lamenting Bb minor chord in the strings establishes the key of the work. After two statements of the primary theme there is a brief modulation in m. 64 to the relative major key, Db, before a final statement of theme one, in the original key, which closes the exposition.
The development begins in m. 653 with a free inversion of the primary theme in the dominant key. A contrapuntal progression through the circle of fifths develops in m. 657. (fig. 4) This builds to a dramatic climax on the subdominant in m. 663, before more elusive tonal material is undertaken in m. 665. Finally there is a return to Bb minor in the recapitulation at m. 677.
Orchestration, as well, plays a large part in this depiction of drama. In m. 628 the winds, consisting of 3 flutes, 2 clarinets, 2 oboe, and 4 bassoons, enter briefly, elude to a fuller, more sustained harmonic development, before dissipating in order to mimic the weeping mezzo-soprano who supports the bass restatement of the them in m. 633.
The opposite effect is achieved in m. 665, when five beats of silence dramatically precede an a cappella introduction of the last two lines of text, sung pianissimo by the choir and soloists. (fig. 5) This haunting stretch is characterized by parallel thirds in the choir. The orchestra reenters in m. 671 in a quiet contrapuntal pleading to Jesus until m. 681, when the chorus and strings sound a condemning staccato decent into a unison plea for rest which lasts from mm. 683-96.
In m. 697 Verdi does the unexpected. Prepared only by the solitary violins with a tremolo on Bb and G, the entire orchestra, with chorus and soloists, sings an intense pianianissimo Amen on a G major chord, which resolves to an orchestral Bb major chord to end the movement. This breath taking finish suggests God’s ultimate granting of peace.
Verdi was not initially enthusiastic about composing his own rRequiem. He felt that it was an exhausted musical setting. In 1871 he went as far as to state, “I don’t like useless things. There are so many, many Requiem Masses!!! It is useless to add one more.” By January of 1874, upon ensuing completion of the work, he wrote, “I feel as though I have become a solid citizen and am no longer the public’s clown…”. Indeed, this Requiem may have been Verdi’s personal “Lachrymose”.

Select Bibliography
Rosen, David. Verdi: Requiem. New York: Cambridge University Press, 1995.
Tilmouth, Michael “Tovey, Donald Francis”, in The New Grove Dictionary of Music. London: Macmillan, 1980. Vol. 13, pp. 102-103.
Tovey, Donald Francis. Essays in Musical Analysis. London: Oxord University Press, 1937. Pp. 195-211.
Verdi, Giuseppe. “Lachrymose”. Verdi: Requiem: Vienna Philharmonic. (Phonographic Performance Ltd., 411 944-2).
Verdi, Giuseppe. Mesa da Requiem. London: Ernst Eulenburg Ltd., n.d., pp 129-141.

Duo Spirito

 

A violin and piano duet formed in 2008, Duo Nouvo provides light classical and jazz repertoire suitable for every occasion. ENQUIRE ABOUT BOOKING

Meditation

Makin Whopee

Sample repertoire: Classical – Hungarian Dances by Brahms, Meditation from Thais by Massenet, Wedding March by Wagner, Melody from Sheherazade by Rimsky-Korsakov, Schubert Waltzes. Popular – Lullaby in Birdland, Cry me a River, When I Fall in Love, Makin’ Whoopee, Can You Feel The Love Tonight, Smile, Take Five.

Classical Singing Lessons

*****Classical Singing Technique*****

Singing Teacher Available for Private Lessons

I am a qualified professional singer and teacher; I am looking for work as a singing teacher.

So… are you ready to learn a bit more of this exciting and beautiful world of The Voice?

Yes? Then don’t hesitate in contacting me, we’ll discuss your needs and we’ll see if I can help you. Among my students I’ve had all types of people and styles! From opera to hard rock, jazz to pop. Overall I always had positive results. The only thing you need to be sure about is WHAT DO YOU WANT? To know how to make my way through it.

 

My background:

 

- Diploma by the University of Vigo (Spain) in Musical Education Sciences.

- Post-Graduate Diploma by the Royal Academy of Music (London) in Jazz Singing.

- Diploma in Classical Singing by the Conservatoire of Music of Vigo.

- I’ve done many courses in Classical Technique at the University of Vigo and Conservatoire of Music Mayeusis, as well as with private tutors, allowing me to achieve a good knowledge in classical and popular repertoire.

- I’ve recently taken a masterclass at the Complete Vocal Institute, in London. This opened my views about how to deal with “modern” techniques.

- I’ve done numerous seminars in Jazz.

- I’ve been teaching in several institutions:

            - Public School Balaidos (Vigo): Music for Primary School.

            - Catholic Private School Mariano (Vigo): Music for Primary School up to

               2nd of Secondary.

            - Musical Studies School “A Tempo” (Pontevedra):

              Head of Voice Department.

            - Municipal School of Music (Tui): Choir, Musical Language,

              Vocal Technique, Music and Movement.

            - King’s College and Faraday House (London):

              Warming-Up Vocal Techniques and Corporal Expression to a choir.

- I’ve been teaching Vocal Technique privately in Spain, to students from the age of 5 to 60.

- I recently taught a 10-hour intensive course in Modern Singing for Choir at the School of Music of Moana (Spain).

 

That’s a general resume concerning Academic Background.

I’ve got plenty of experience as a performer (attached is my CV).

 

I’ll be looking forward to hearing from you.

Have a great day!!!

 

Kind Regards,

 

Graciela Rodriguez

28A, Skeffington Road

East Ham – E6 2NB – London

Tel. 07877.095.785

 

 

http://www.myspace.com/gracimusic

 

The Ferrer Guitar Duo

Biography:

The Ferrer Guitar Duo is a meld of the talent of two well established and successful classical guitarists.  Frank and David have worked together for many years and have collaborated on successful guitar publications and together recorded a newly discovered work by the Spanish composer Jose Ferrer which was published by Chanterelle in Hanover. ENQUIRE ABOUT BOOKING

Cubanos

La Traviatta

Vals Extract 1

Val Extract 2

Frank began his study of the Guitar at the Spanish Guitar Centre, London. Later he studied at the Guildhall School of Music and individually with the world renowned Classical guitarist Julian Byzantine. Frank has played for musical productions including Les Miserables, Grease, The Wiz, The Hot Mikado and Chorus Line, and was requested to play Classical Guitar music for Stephen Hawking and his family and friends at a special event held in St.Albans School, broadcast by Channel 4 television.  He has played at a number of weddings held in St. Albans Cathedral and he is in demand for special occasions held at St. Michaels Manor Hotel.  Frank currently teaches the Guitar for the Hertfordshire County Music Service.

David has been performing, writing and teaching professionally since leaving the Royal Academy of Music, where he won the Julian Bream Guitar Prize. His teaching series, The Guitarist’s Progress published by Garden Music is now established as one of the most popular and thorough introductions to the guitar. In addition to the many books in that series he has had much of his guitar music published by, among others, BBC, EMI and OUP. He has been elected an Associate of the Royal Academy of Music (ARAM) by its Governing Body. In 2006 one of his pupils, David Massey, became only the second guitarist to win the String Section and reach the Final of the BBC Young Musician of the Year.

Recommendation:

“Dear Frank, Thank you very much for playing for us last week at our end of year supper party.  There was a lot of positive feedback from those who attended and enjoyed the music.  With best wishes, Yours sincerely, Diana Rose” – Secretary, Council of Christians and Jews, St Albans Branch

Solis String Quartet

The Solis String Quartet,born in 1991, from the encounter of four young graduated absolute talents of the Conservatory of San Pietro a Maiella of Naples.
Composers and arrangers, Vincenzo Di Donna – violin, Luigi De Maio – violin, Gerardo Morrone – Viola, Antonio Di Francia – Cello, joined to give life to one of the most meaningful artistic experiences ever produced in the city of Naples.
From 1991 until today, the ensemble has covered an artistic path of high importance, becoming undoubtedly one of the best Quartets of Europe in their genre.
From the first experiences with the artist Adriano Celentano, then with Claudio Baglioni, Gianna Nannini, Edoardo Bennato, Elisa, Giorgia and the Negramaro band, just to name few of Italian nationally renown artists, the Solis String Quartet has developed a unique and personal artistic style ranging from pop to jazz, from world music to the best contemporary music that soon projected them in a wider context for collaborations with talents and artists of international high profile.
Among these experiences, it is worth to mention the live shows with Andreas Vollenweider, and then the work for the Andreas album Cosmopoly, with artists such as Carly Simon and Bobby Mc Ferrin, and the collaboration on the single of the new album of Jimmy Cliff , titled “People”, sung with Sting and written by Dave Stewart, launched on the English market. Then, Dulce Pontes, Pat Metheny, Noa, Richard Galliano, Teresa Salgueiro, Donovan, Sinead O’Connor, Maria Joao, Omar Sosa as key musical encounters, that become a real feature of the Solis artistic journey characterised by high versatility and understanding of the many different artistic languages.
“I Can See For Miles ….and Miles…”
One of the essential aspects in the history of the Solis is undoubtedly the live performance activity. In almost twenty years of career the Solis Quartet has covered thousand and thousand of miles. On tour by themselves, and in the many collaborations, the Solis String Quartet is one of the Italian groups regularly invited to exhibit in the main theatres and festivals in Europe. However, the encounter with the artist Noa, remains a highly meaningful moment. With the Israeli artist they exhibited in the 2005 in France, Spain, Germany.
In November 2005 they are the only Italian artists invited to play in Israel at the Memorial Rabin of Tel Aviv, in a concert at the presence of Bill and Hillary Clinton.
In March 2006, in Israel in Tel Aviv city, they realize LIVE! , double album with DVD, the top of an extraordinary artistic companionship with Noa.
Among many live events of their calendar, it is worth to remember the participation to the Pavarotti & Friends , with Edoardo Bennato in 1996, with Elton John, Liza Minnelli and Sheryl Crow among all else and the prestigious participation in 1997 to the celebration of the 700 years anniversary of the takeover of the Ranieri family, in the Theater of Court of the Principato of Monaco, where they hold a concert with Katia Ricciarelli and Massimo Ranieri.
The presence in media is also very rich, both on national radio and tv stations.
Among these, the participation to the Festival di Sanremo, together with Elisa in 2001 and in 2006 with Noa and C. Fava.
In 2001 their first album Metrò is released by the label Confini e Oltre, distributed by BMG Ricordi.The album is received well by critics and public, appreciative of their artistic proposal.” PROMENADE”, is the title of their second album.
Published at the end of 2006, the album is distributed in Germany, France, Austria, Belgium, Lussemburgo, Switzerland and Holland as evidence of an European interest and reception.
Promenade is a mature job, and is conceived as a sort of a travel book collecting the best artistic collaborations and experiences of the previous years that led the Solis Quartet to establish themselves among the main European reference music ensembles.
The songs are characterized by the constant search of the melody – fundamental element of their compositions- by a strong rhythm, absolute characteristic of Solis String Quartet and represent the best of the cultural and musical influences of the countries that the group has visited and of the musicians who have shared experiences with the group.
Friends of the band appear also on the cd, such as Gianna Nannini, Richard Galliano and the long-time artistic companion Noa.
“Promenade Acoustic Live Tour” , it started on April 20, 2007 , from La Palma Club of Rome.
The Solis Quartet project has then been taken on tour in the main European festivals: Montreaux Jazz Festival, the Blue Balls Festival of Lucerna, Adriatic International Festival of Brindisi , Cefalù Jazz Festival, Settimana Mozartiana Festival of Chieti, Paemad Festival of Palermo, Maison Musique di Rivoli and Folk Club of Turin.
Currently, Promenade is the main project in their live activity. Recently the group has taken part to the realization of the last album of the Negramaro band, recorded in S. Francisco with the title “La Finestra”, and has performed live with the band in May (2008) in Milan at San Siro stadium in front of 50000 fans.
Last but not least… the band has paid their deeply felt homage to the Neapolitan classic song tradition in a concert event, held on last 30 june (2008) at San Carlo Theater, with the Portuguese artist Teresa Salgueiro.
Solis String Quartet is a project/work in progress that plays a lot, sleeps little, drinks much coffee, surfs Internet, exchanges opinions, and works on new projects. We will keep you updated….

For More Details please visit their website

www.solis.it 

 

 

 

Sw Davies

          

Bach Prelude

Manha

Summertime

Sw Davies studied classical guitar under Gordan Crosskey and Craig Ogden at the Royal Northern College of Music. Having received an Honours Degree in Performance he has since pursued an eclectic career in performing and teaching. While at the RNCM, he teamed up with fellow guitarist, to form a Guitar Duo making it their mission to perform and promote original guitar music for two guitars. The Duo have performed throughout the UK including chamber music series’ such as Music in the Round, Glennila Arts Foundation and festivals Having performed at major venues across the U.K including: Tower of London, Tower Bridge, County Hall, National History Museum, Soho House, Babington House and Blenheim Palace to name but a few. His repertoire covers a wide range of styles from Classical, Spanish through to Jazz and Popular.ENQUIRE ABOUT BOOKING

Forte String Quartet

Forte String Quartet

 

Trained at the Royal Academy of Music Forte String Quartet is a dynamic and captivating ensemble whose experience and specialism range from entertaining  guests at prestigious venues, through extensive work for world class educational establishments to providing the most professional of services for weddings and smaller functions whatever the scale.  Whether product launch, intimate business dinner or cocktail party, 4te provides the perfect music to complement any occasion. Their versatility and experience combine the highest professionalism with exceptional musical talent. ENQUIRE ABOUT BOOKING

 

They have performed in some of the finest venues in the UK, such as Kensington Palace, Natural History Museum, Barbican Centre, Claridges, Science Museum, Kew Gardens, Somerset House, Royal Stock Exchange, Hampton Court and St.Paul’s Cathedral. Recent engagements include performances for Royalty and dignatories as well as companies such as 3i, HR Owen and BMW PGA Golf Championships at Wentworth, Swan Hellenic cruises worldwide.

 

In the commercial world they have performed with numerous artists including;

Kanye West, Elton John, Paul McCartney, Goldfrapp, Dido, Noel Gallagher, Michael Bubble, Robbie Williams, Katie Melua, JayZ, Beyonce and Ronan Keating. They are frequently employed as session musicians and have recently recorded for Nintendo, Johnny Walkers, Vue cinema and Smirnoff.  This year they are appearing at Glastonbury.

Isabella Soprano

 “You sing beautifully. I much enjoyed hearing you – a fine sound, very well in tune, and musicianly. You sing in a well chosen range, and your voice is admirably even. You’re clearly doing everything right. You should do well…a developing voice with solo potential, which is what you have.“  

“It was a great pleasure to work with you, and so refreshing to hear beautiful, unsullied singing. Just keep doing what you do so beautifully. You are a very gifted young woman, and I am sure you will have great success.” 2004

“Congratulations…you are so incredibly talented!” 2006

Barbara Booney 

I saw my lady weep

Saltro Che Lagrime

“I do not know enough about opera to say whether Isabella, lead soprano in Lennox Berkeley’s A Dinner Engagement, is extraordinary or merely excellent. The voice (she has) is outstanding, combined with a welcome naturalness in her acting. Of the three stars which follow, one is for her.”The Cherwell, Oxford 2008

  “Your singing in a demanding programme is always poised and musical – like your guitar playing!“

Michael Lewin FRAM , Head of Guitar at the Royal Academy of Music 2005

  “I very much enjoyed listening to you.”

Kate Andrew, Music Manager, Royal Shakespeare Company 2007

  “Indeed a lovely voice with certain potential for the future.”

Michael Garvey of Classical FM Radio. London . 9^th December 2002

  “Stunning voice. What a talent!”

BBC Radio Kent (on Isabella singing live) 22^nd December 2002

  “Isabella gave an impressive performance of Handel’s ‘Let the Bright Seraphim’, with some beautifully controlled trill.”

Maidstone Express (on Isabella singing live in Rochester Cathedral) April 2004

 “Isabella has a fine voice and a great sensitivity in her singing. She is quite remarkable. Her voice is mature and polished and her interpretations are not superficial. It shows the security of her velvet low notes. Her phrasing is a joy, there are no flaws here. What I like most is the effortlessness in her performance. It is sung without cloying sentiment, but still with that beautiful and very earthy voice. Quite delightful! What I like about her singing is the total lack of excess and effect. The music speaks for itself and so it should. There are no glissandi or portamenti, no playing to the gallery, no tear-jerkers, no nonsense – just music sung for music’s sake and sung well. She should have a worthy career which I will watch with interest.”

Dr.David Wright B.Music, M.A., Ph.D July 2003

 “I was impressed with the purity of her voice and her secure intonation. I have recently heard her sing Mozart and the quality of voice and communication skill is admirable. She is certainly worth your attention (and everybody else’s) and will not disappoint you. I rarely make any such recommendation but this one I am more than happy to give.”

Dr.David Wright B.Music, M.A., Ph.D September 2006

 

Concerts and Recitals; Performed to great acclaim in the United Kingdom and France. Venues include the Royal Academy of Music, Strasbourg Cathedral, Bath International Guitar Festival, Girton College Cambridge, Queen’s College and University Church Oxford and the Holywell Music Room, Oxford.

 Scholarships: Scholarship to the Royal Academy of Music (Junior)

Choral scholarship, Queen’s College, Oxford University

Academic and music scholarships, Kings School Rochester

 Operatic Roles: Bastienne, Bastien und Bastienne (Mozart) Magdalen Opera, 2006

Dido, Dido and Aeneas (Purcell) The Queen’s Opera Group, 2007

Susan, A Dinner Engagement (Lennox Berkeley), Moser Theatre Oxford 2008

 

CD: ‘As Long as a Tear’ has been featured on BBC Radio Kent.

Musical levels:

dip.ABRSM in piano performance

Grade 8 distinction guitar

 Awards in competitions: Won many singing and classical guitar competitions, including: CD ‘As Long as a Tear’ nominated for ‘Opera/Classical Vocal Album of the Year’; St. Stephen’s cup 1^st Prize for Opera; Gold Medal for Dramatic Achievement

International Concert Guitarist

International Concert Guitarist. www.albertoperez.net
 
    I would like to notice you that in 2009 I am moving to London in order to play some Guitar Recital Series through the United Kingdom, offer master classes at music schools and academies, get in contact to publishers and labels, showcase my own compositions, transcriptions and researches on early music, many recordings along with Spanish music for classical guitar.
 
    During 2008 I carried out this proyect throughout Australia  performing many recitals as well as master clases at the main Universities and schools of music supported by the Spanish Government
 
    Please, let me introduce you to my  programs in which you could be interested as you would not have to pay for any flight from Madrid.  A reasonable caché runs between 500/1000 Pounds per concert plus domestic flights and hotel if I had to move around to carry out the concert. ( The caché appearing in the programs is an orientation ).
 
 1)       Classical and Electric guitar in the same program “ Bagatelles and Extravagances “.  ( This program is very innovative.)
 
 2)       Classical Guitar “ Joaquín Rodrigo in Memoriam“
 
 3)       Baroque Guitar Recital “ How to embellish Baroque Music “
 
 4)   Contemporary Classical Guitar  “ Original Own Works “
 
5)  Classical Guitar “ Spanish Program.”
 
6) Bio
 
7) Picture
 
       “Please find enclosed the programs on attach files.
 
 
    In addition, a Master Class on Classical or Electric Guitar could be possible ( early music, romantic period or contemporary language, technique for both guitars, compositions and musical exemples are available on CD supports).
 
   For further information about  Alberto Pérez’ activities, please visit www.albertoperez.net
 
    I look forward to hearing from you at your earliest convenience
 
    Kind Regards
    Alberto Pérez

 

Alberto Pérez
Concertista Internacional de Guitarra
Compositor, Investigador y Profesor
 
Avda. de la Constitución, 7 – 5ºA
33401 Avilés ( Asturias )
España
 
Tel.: +34 / 616 435 682
elgrande_67@yahoo.com
www.albertoperez.net

Classical Guitarist Available for Gigs

classical guitarist mixing with Flamenco style, last years in Andalucia Spain , gigged arround theatres and schools promoting culture for nearly 3 years (90 gigs per year).

interested in contact with you if you considered my c.v. i enclose you a short demo as guitar player with a brazilian project i got two years ago, the idea is if you need a guitarrist for duet like jazzy, gipsy, funk i can read the sheets as well and got a very trained ear.
www.myspace.com/chandllamas

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