1 00:00:01,333 --> 00:00:03,333 Before I show you around I want to show you this guitar. 2 00:00:03,933 --> 00:00:06,066 It's a copy from a Barrios guitar. 3 00:00:06,066 --> 00:00:07,166 Oh, wow. 4 00:00:07,166 --> 00:00:09,866 You were talking to Federico Shepherd, right? 5 00:00:09,866 --> 00:00:10,266 Fred? 6 00:00:10,500 --> 00:00:11,600 Yeah. Yeah. 7 00:00:11,600 --> 00:00:13,133 So he made this guitar. 8 00:00:13,133 --> 00:00:14,466 No kidding. - Yeah. 9 00:00:14,466 --> 00:00:18,766 And he made a copy of the first good guitar Barrios had. 10 00:00:19,266 --> 00:00:24,333 So this is a copy of Ramirez from 1911. 11 00:00:24,666 --> 00:00:29,266 He makes sure all the details are close to the original 12 00:00:29,266 --> 00:00:33,966 guitar - the mother of pearl and the sound of it. 13 00:00:33,966 --> 00:00:34,700 Beautiful. 14 00:00:34,900 --> 00:00:37,700 So this guitar has a funny story. 15 00:00:37,966 --> 00:00:40,833 When Barrios was traveling in a car, 16 00:00:40,833 --> 00:00:44,566 they had an accident, and the car went down on a river. 17 00:00:44,933 --> 00:00:47,933 So the guitar sunk inside the car 18 00:00:48,366 --> 00:00:51,700 and Barrios dove into to the river and rescued the guitar. 19 00:00:52,333 --> 00:00:55,266 But it won't sound good anymore. - Of course. 20 00:00:55,266 --> 00:00:58,466 So Shepherd made this copy 21 00:00:58,900 --> 00:01:01,966 to restore the sound of the guitar. 22 00:01:02,166 --> 00:01:04,100 Okay. - So now we can hear it. 23 00:01:04,100 --> 00:01:04,966 All right, let's hear it. 24 00:01:06,033 --> 00:01:07,933 So, Scott, I wanted to bring you here 25 00:01:07,933 --> 00:01:11,700 because Barrios played on this stage in 1929. 26 00:01:11,700 --> 00:01:12,633 Incredible. 27 00:01:12,833 --> 00:01:15,266 Now we have our orchestra rehearsing there. 28 00:01:15,266 --> 00:01:18,033 So we'll be here on the entrance hall 29 00:01:18,033 --> 00:01:20,866 that is just beautiful as the main hall. 30 00:01:20,866 --> 00:01:23,733 So he started as a folk musician 31 00:01:23,733 --> 00:01:26,300 learning folk tunes from his father. 32 00:01:26,300 --> 00:01:29,733 And then one guy called Gustavo Sosa Escalada 33 00:01:29,733 --> 00:01:32,733 saw the young boy and became his tutor, 34 00:01:33,166 --> 00:01:36,400 Gustavo Sosa Escalada was very well connected 35 00:01:36,600 --> 00:01:38,633 with the Spanish guitar repertoire. 36 00:01:38,633 --> 00:01:41,000 And he start introducing these to Barrios. 37 00:01:41,000 --> 00:01:44,133 - Okay, The first one, it's Aguado. 38 00:01:44,133 --> 00:01:47,100 ♪♪ 39 00:01:47,100 --> 00:01:50,066 ♪♪ 40 00:01:50,066 --> 00:01:53,033 ♪♪ 41 00:01:53,033 --> 00:01:56,000 ♪♪ 42 00:01:56,000 --> 00:01:57,700 So Aguado taught Jose Ascensio 43 00:01:57,700 --> 00:02:00,833 that taught Julian Arcas. 44 00:02:00,833 --> 00:02:03,800 ♪♪ 45 00:02:03,800 --> 00:02:06,766 ♪♪ 46 00:02:06,766 --> 00:02:09,733 ♪♪ 47 00:02:09,733 --> 00:02:12,700 ♪♪ 48 00:02:12,700 --> 00:02:15,666 ♪♪ 49 00:02:15,666 --> 00:02:18,633 ♪♪ 50 00:02:18,633 --> 00:02:21,600 ♪♪ 51 00:02:22,300 --> 00:02:26,000 Then Julian Arcas taught García Tolsa. 52 00:02:26,000 --> 00:02:26,866 Okay. 53 00:02:26,866 --> 00:02:29,833 ♪♪ 54 00:02:29,833 --> 00:02:32,800 ♪♪ 55 00:02:32,800 --> 00:02:35,766 ♪♪ 56 00:02:35,766 --> 00:02:38,733 ♪♪ 57 00:02:38,733 --> 00:02:41,700 ♪♪ 58 00:02:41,700 --> 00:02:47,966 ♪♪ 59 00:02:47,966 --> 00:02:50,200 And then García Tolsa 60 00:02:50,200 --> 00:02:52,433 taught Gustavo Sosa Escalada, 61 00:02:52,433 --> 00:02:54,633 who taught Barrios. 62 00:02:54,633 --> 00:03:00,966 ♪♪ 63 00:03:00,966 --> 00:03:07,233 ♪♪ 64 00:03:07,233 --> 00:03:13,500 ♪♪ 65 00:03:14,366 --> 00:03:17,200 You can really hear that Barrios is kind 66 00:03:17,200 --> 00:03:20,333 of part of the evolution of all of those composers. 67 00:03:20,333 --> 00:03:21,133 I think so. 68 00:03:21,133 --> 00:03:22,766 It's like a football game, 69 00:03:22,766 --> 00:03:26,100 one player sending them the ball to the next one. 70 00:03:26,600 --> 00:03:29,666 So this Spanish music, this was like the foundation 71 00:03:29,900 --> 00:03:31,500 for Barrios. - Yeah. 72 00:03:31,500 --> 00:03:34,466 But he grew up to to connecting himself 73 00:03:34,466 --> 00:03:38,666 to many othe kinds of music styles and so on. 74 00:03:39,200 --> 00:03:42,200 So if he had not traveled to anywhere else, 75 00:03:42,400 --> 00:03:44,666 he probably would have stayed a Spanish composer. 76 00:03:44,666 --> 00:03:45,700 Probably. 77 00:03:45,700 --> 00:03:47,700 And in the Paraguayan folk music. Right. 78 00:03:47,700 --> 00:03:48,733 Right. It's amazing.