Manuel Barrueco, "Works For Guitar" Villa-Lobos, Guarneri, Chavez, composers

When I think of classical guitar, Manuel Barrueco’s name does not immediately come to mind


It’s nothing against him, of course. The Cuban-born guitarist has a well-earned reputation as one of the finest musicians in the world. He has performed with Steve Morse, the guitarist for Deep Purple, and Andy Summers from the Police. Barrueco recorded an album of Lennon-McCartney songs. His 2005 CD, "Concierto Barroco," was nominated for a Latin Grammy for Best Classical Recording.

And he’s a faculty member at the Peabody Institute of the Johns Hopkins University, which is only the oldest music school in the entire country.

Still, I only learned all of this about Barrueco after I found his 1977 album, “Works For Guitar,” in the $1 bin at my friendly neighborhood record store. It must be quite a find; though most of the man’s works can easily be found on CD, his early recordings only get a passing mention in the official bio on his Web site:

"His early recordings, available on VOX, have become a classic amongst guitar recordings."

So I don't know where the 33-year-old "Works For Guitar" stands in the timeline of Barrueco's albums.

(I should have waited until March to discuss the album; then it would be 33 1/3. Get it? Never mind.)



Manuel Barrueco recorded "Works For Guitar" in 1977 on the VOX Turnabout label. At the time he was a teacher at the Manhattan School of Music, according to the album's liner notes.

Side one comprises mostly a series of eight etudes by the composer Heitor Villa-Lobos (1887-1959), rearranged by Barrueco into a more or less complete piece. In the hands of a lesser musician (or a student, for that matter) an etude is often just an exercise, playing a pattern repeatedly, with occasional variations on it. At times, that’s what some of the etudes sound like. But some of them, like Etude No. 5 in C Major, are lively and interesting in Barrueco’s hands. Etude No. 2 in A Major is a simple but rapid melody whose appeal lies in the insane speed and precision with which Barrueco. plays it. Other parts of the series, like Etude No. 11 in E Minor, tend to drag. Unfortunately, Etude No. 11 is also the longest track on side one.

The Estudio No. 1 by M. Camargo Guanieri (1907-1993) is also down-tempo but the pacing and different melodies make it a good listen.

Side two picks up with works that are longer but more cohesive: Chavez' "Three Pieces for Guitar" and the highlight of the album, a roughly 15-minute work by Villa-Lobos, "Suite Populaire Bresilienne." Barrueco makes this unfamiliar (to me, at least) piece an absolute delight to listen to, from start to finish. Unlike some of the shorter etudes on side one, nothing here sounds rote.

One advantage of listening to a classical album like this, where the focus is on the performer rather than on the composer, is you can evaluate the recording a little easier. If I ever hear someone else perform “Suite Populaire Bresilienne,” for instance, I can compare it to Barrueco’s 1977 recording. That’s a little more difficult to do with symphonic recordings – but nonetheless a challenge I will tackle before you know it.

What about your discoveries? Do you know this album? Do you know Manuel Barrueco? Are you Manuel Barrueco? Discuss in the comments section. If you want to contribute to The Classical Vinylist, drop me a line at classicalvinylist at gmail.com.

 If you want to find the compositions that appear on “Works For Guitar,” get thee to a thrift store. Or, you can buy this three-CD compilation that costs 15 times as much and includes way more music.