Prospect Classics is delighted to present "Duo Chant," its second CD recording by the Browning-Gilchrest Duo including music for flute and guitar by Antonio Vivaldi, Lanny Meyers, and Mauro Giuliani and solo guitar pieces by Agustín Barrios. It was in 1993, while writing the music score for the documentary film about artist Judy Chicago's exhibit, "The Holocaust Project: From Darkness to Light," that Lanny Meyers (b. 1941) first conceived his "Duo Chant" for flute and guitar. Like many second generation Jewish-Americans raised in the post-war era, Judy Chicago grew up in a household where her religious and ethnic heritage were rarely discussed. The film focuses on Chicago's discovery of her own Jewish heritage; her travels to Germany, Poland, and Russia to retrace Hitler's footsteps; and how these experiences are brought together in her exhibit. "Duo Chant," written for and dedicated to the Browning-Gilchrest Duo, is based on a single Sephardic folk song introduced by the flute in the first movement. The work explores the relationship between religion and humanity - sometimes harmonious - sometimes at odds. The original theme is transformed throughout the work as the flute (representing spirituality) and guitar (representing humanity) explore the complex relationship between the two subjects. The instrumental music of Antonio Vivaldi , the Italian composer and violinist, is best remembered for its rhythmic vitality and dramatic slow movements. The "Sonata" for flute and guitar was adapted by Winslow Browning from Vivaldi's "Sonata in C major (Opus 1, No. 3)" for two violins. The piece, composed in a conversational style, is typical of the Italian composer's youthful melodic and rhythmic vigor. Agustín Barrios was born in Paraguay to parents with a keen interest in music, poetry and art. His father was an Argentine diplomat and an enthusiastic amateur guitarist who gave young Agustín his first exposure to the instrument, introducing him to the rhythms and harmonies of the zamba, vals and other folk dances of South America. Barrios left Paraguay for Buenos Aires, Argentina while in his early twenties and then moved on to Montevideo, Uruguay, the guitar capital of South America. Although he enjoyed periodic success during these years, he never-the-less endured a constant struggle. Celebrated Spanish guitarists, such as Miguel Llobet and Andrés Segovia, played series of sold out concerts while Barrios's concerts were often canceled due to poor attendance. It wasn't until his mid-thirties, when he took the name and costume of Mangoré, a legendary Guarani Indian chieftain who warred against the 16th century invasion of the Spanish conquistadors, that Barrios received wider recognition and financial security. And what wonderful poetic irony that Barrios, who struggled against the invasion of the Spanish guitarists, would take the name of a folk hero who, centuries earlier, resisted the Spanish invaders. Mauro Giuliani was perhaps the most famous guitar virtuoso of his generation and is one of the most important figures in the guitar's history. Born into a musical family in Brescia, Italy, he began his musical studies with the cello at an early age, then later taught himself the guitar. As many musicians of his day, Giuliani could not resist the attraction of Vienna, settling there from 1807-1819. To make ends meet, he often earned extra income with his first instrument and participated as a cellist in the first performance of Beethoven's "Symphony No. 7" in 1813. Giuliani's music was greatly influenced by opera styles of the day, "Bel Canto" in particular, where beauty of tone and flawless technique were the primary ingredients. The "Gran Duetto Concertante, Opus 52" was first published in 1814, and is among the most substantial of his twenty-two surviving works for flute and guitar, requiring virtuoso playing of both instruments.
The Browning-Gilchrest Duo has been recognized for its "ability to entertain and a