From Aveiro (Portugal, b. 1978), he soon became interested in music, studying classical guitar in his hometown conservatory with Carlos Abreu and Miguel Lélis, and in Lisbon with Paulo Amorim and Dejan Ivanovic. He completed his music degree in the Conservatorio Superior de Música de Salamanca (Spain), under the guidance of Mr. Hugo Geller. With the Erasmus program, he also attended the Perugia Conservatory in Italy, with Maestro Leonardo de Angelis. He then obtained a master’s degree in music pedagogy at the University of Aveiro. He teaches guitar and guitar ensembles at the Conservatório de Música do Porto since 2010. He has a considerable concert career as well, both as a soloist and chamber music player. He intensively toured with the Baltar Cassola Guitar Duo in Portugal, France, Italy and Spain. He is also a soloist member of the Portuguese Guitar and Mandolin Orchestra (OPGB) since 2017, playing all over Portugal, but also Spain, Germany, Belgium, Netherlands and Luxembourg. He has also been a member of the juri of several national and international Guitar Competitions, such as Festival Internacional de Guitarra de Guimarães and Festival de Guitarra de Amarante.
Oct. 30 | Leo Brouwer – A New Guitar Pedagogy @ Conference
The Cuban musician and living legend Leo Brouwer (Havana, 1939) has been playing a role model in the guitar world since the second half of the 20 th Century until nowadays as a classical guitar player and an outstanding composer as well. Nonetheless, not everybody seems to be aware of a less known side of this polyhedric personality. We would like to show how his vast experience as a performer, conductor, composer and teacher in numerous masterclasses, along with his publications and theoretical thought on music and guitar technique, contribute in a very significant way to such a unique position in the Guitar pedagogy. A deep look on Brouwer’s most relevant didactic compositions such as Estudios Sencillos and Nuevos Estudios Sencillos will be done, as well as an attempt to describe his teaching profile through observing some of his masterclasses. Finally, an analysis on some of his theoretical publications on guitar issues will algo be presented. Doing so, this article is intended to present a reflexion on Brouwer’s role as a prominent figure in the Guitar teaching, bringing to light some of his pedagogical guidelines, as well as his main contributions for a new Guitar pedagogy, bringing his experiences as a performer together with the composer of some of the most important modern didactic repertoire.