Antonio Lauro (August 3, 1917 – April 18, 1986) was a Venezuelan composer, … Read Full Bio ↴Antonio Lauro (August 3, 1917 – April 18, 1986) was a Venezuelan composer, considered to be one of the foremost South American composers for the guitar in the 20th century.
Antonio Lauro was born in Ciudad Bolívar, Venezuela. His father, an Italian immigrant, was a barber who could sing and play the guitar so he taught his son what he could, but died when Antonio was still a child. After the family moved to Caracas, Lauro pursued formal musical study (piano, composition) at the Academia de Música y Declamación, where the distinguished composer Vicente Emilio Sojo (1887-1974) was one of his teachers. A 1932 concert performed in Caracas by Agustín Barrios, the legendary Paraguayan guitarist and composer, so much impressed the young Lauro (already an accomplished folk guitarist) that he was persuaded to abandon piano and violin in favor of the guitar. From 1933, Lauro studied with Raúl Borges (1888-1967), and was introduced to the traditional classical guitar repertoire. In the next decade, Borges' pupils would also include Rodrigo Riera, José Rafael Cisneros, and Alirio Diaz. These colleagues, especially Díaz, were later responsible for unveiling Lauro's works to an astonished international audience, introducing these unheard-of works to the likes of Andrés Segovia and John Williams.
Like many South Americans of his generation, Lauro was a fervent cultural nationalist, determined to rescue and celebrate his nation's musical heritage. As a member of the Trio Cantores del Trópico in 1935-1943 (Lauro sang bass and played both guitar and cuatro), he toured nearby countries to introduce them to Venezuelan music. Lauro was particularly attracted to the myriad colonial parlour valses (waltzes) created the previous century by accomplished national composers such as Ramón Delgado Palacios (1867-1902). Unfailingly melodic, alternately wistful and brilliant, and characterized by a distinctive syncopation (created by a hemiola in which two measures of 3/4 become a single measure of 3/2), such music was precisely the sort of folkloric raw material which the likes of Smetana, Béla Bártok or Granados had elevated to national art in Europe.
A concert whose programme was entirely comprised of such valses (waltzes) by the distinguished Venezuelan pianist Evencio Castellanos (1914-1984) convinced Lauro that the guitar, too, should have comparable pieces in its repertory. Among his first efforts in this genre were the pieces later known as Tatiana, Andreina, and Natalia, composed sometime between 1938 and 1940; their instant popularity inspired still others. In addition to his guitar pieces, Lauro composed dozens of works for orchestra, choir, piano and voice; many of which remain unpublished. He occasionally experimented with modern compositional techniques, but most of his guitar music remains essentially on the Calle Real or "main street," an expression used by musicians of Lauro's generation to refer to a straight and direct route, without distracting harmonic detours.
In 1951-1952, the military junta of General Marcos Pérez Jiménez imprisoned Lauro for his principled belief in democracy. Lauro later shrugged off the experience, telling his friends that prison was a normal part of life for the Venezuelan man of his generation. He had continued composing even in prison, and after his release immediately returned to performing with a pioneering professional classical guitar trio, the freshly formed “Trio Raúl Borges”. In the following decades Lauro's compositions were published, recorded, and performed throughout the world, and his contributions to his nation's musical life were recognized and acknowledged everywhere. Lauro was appointed professor of guitar at several distinguished schools including the Juan José Landaeta Conservatory, and was named president of the Venezuela Symphony Orchestra. In spite of his modest insistence that he was a composer rather than a performer, he was persuaded by his friends to embark upon a solo concert tour which began in Venezuela and culminated in a triumphant 1980 performance at London's Wigmore Hall. Shortly before his death at Caracas in 1986, he was presented with the Premio Nacional de Música, his country's highest artistic award.
Antonio Lauro was born in Ciudad Bolívar, Venezuela. His father, an Italian immigrant, was a barber who could sing and play the guitar so he taught his son what he could, but died when Antonio was still a child. After the family moved to Caracas, Lauro pursued formal musical study (piano, composition) at the Academia de Música y Declamación, where the distinguished composer Vicente Emilio Sojo (1887-1974) was one of his teachers. A 1932 concert performed in Caracas by Agustín Barrios, the legendary Paraguayan guitarist and composer, so much impressed the young Lauro (already an accomplished folk guitarist) that he was persuaded to abandon piano and violin in favor of the guitar. From 1933, Lauro studied with Raúl Borges (1888-1967), and was introduced to the traditional classical guitar repertoire. In the next decade, Borges' pupils would also include Rodrigo Riera, José Rafael Cisneros, and Alirio Diaz. These colleagues, especially Díaz, were later responsible for unveiling Lauro's works to an astonished international audience, introducing these unheard-of works to the likes of Andrés Segovia and John Williams.
Like many South Americans of his generation, Lauro was a fervent cultural nationalist, determined to rescue and celebrate his nation's musical heritage. As a member of the Trio Cantores del Trópico in 1935-1943 (Lauro sang bass and played both guitar and cuatro), he toured nearby countries to introduce them to Venezuelan music. Lauro was particularly attracted to the myriad colonial parlour valses (waltzes) created the previous century by accomplished national composers such as Ramón Delgado Palacios (1867-1902). Unfailingly melodic, alternately wistful and brilliant, and characterized by a distinctive syncopation (created by a hemiola in which two measures of 3/4 become a single measure of 3/2), such music was precisely the sort of folkloric raw material which the likes of Smetana, Béla Bártok or Granados had elevated to national art in Europe.
A concert whose programme was entirely comprised of such valses (waltzes) by the distinguished Venezuelan pianist Evencio Castellanos (1914-1984) convinced Lauro that the guitar, too, should have comparable pieces in its repertory. Among his first efforts in this genre were the pieces later known as Tatiana, Andreina, and Natalia, composed sometime between 1938 and 1940; their instant popularity inspired still others. In addition to his guitar pieces, Lauro composed dozens of works for orchestra, choir, piano and voice; many of which remain unpublished. He occasionally experimented with modern compositional techniques, but most of his guitar music remains essentially on the Calle Real or "main street," an expression used by musicians of Lauro's generation to refer to a straight and direct route, without distracting harmonic detours.
In 1951-1952, the military junta of General Marcos Pérez Jiménez imprisoned Lauro for his principled belief in democracy. Lauro later shrugged off the experience, telling his friends that prison was a normal part of life for the Venezuelan man of his generation. He had continued composing even in prison, and after his release immediately returned to performing with a pioneering professional classical guitar trio, the freshly formed “Trio Raúl Borges”. In the following decades Lauro's compositions were published, recorded, and performed throughout the world, and his contributions to his nation's musical life were recognized and acknowledged everywhere. Lauro was appointed professor of guitar at several distinguished schools including the Juan José Landaeta Conservatory, and was named president of the Venezuela Symphony Orchestra. In spite of his modest insistence that he was a composer rather than a performer, he was persuaded by his friends to embark upon a solo concert tour which began in Venezuela and culminated in a triumphant 1980 performance at London's Wigmore Hall. Shortly before his death at Caracas in 1986, he was presented with the Premio Nacional de Música, his country's highest artistic award.
Natalia
Antonio Lauro Lyrics
We have lyrics for 'Natalia' by these artists:
Agit Prop Maa vieras on ja kylmä kevät sen Natalia, sua paleltaa Nii…
Aleks Syntek Un chispazo de creación Una sabía decisión Y yo ya estoy loc…
Alma She goes dancing every night Spinning the world around Beaut…
ANTIONTEM Eu tentei não sentir Tentei até fugir de ti Mas você me…
Åttopojat Maa vieras on ja kylmä kevät sen Natalia, sua paleltaa Niin …
BambaraBanda Natalia es los ojos más bellos que ya nunca he…
Buitres El secreto de Natalia es mi ambición y se enreda en su…
Carlos Barbosa-Lima Dit moi nana Por que beijar de longe não interessa Nunca mai…
Chief Takinawa Aye Been a minute since I saw you Natalia Stuck in my…
Grzegorz Turnau Natalia! W mych dłoniach jej talia – A w nozdrzach – konwali…
J.Przybora Natalia W mych dłoniach jej talia A w nozdrzach konwalia I b…
Joan Baez Weaver of words Who lives alone In fear and sorrow Where …
King Jewlz I don't wanna wake up screaming Tell me that you're gone…
La Unión Haz el favor de entrar que horas son estas de llegar has…
Lara Project Conocerte fue pura casualidad Nunca pensé la vista no podría…
Legião Urbana Vamos falar de pesticidas E de tragédias radioativas De doen…
Los Diablitos La que con un beso me hace llegar hasta el…
Natalia Lead: La actriz colombiana con su metro y medio de estatura…
Obbie Messakh Malam ini disini kita duduk berdua Saling diam tak banyak bi…
Pegotes Natalia nacio en el pais de un diktador Rekrudaba en su…
Robo Opatovský Dievča pri bare s vínom v ruke stálo So sladkým rúžom…
Rocío Dúrcal Natalia es una sombra rondadora Natalia es una luz casi rosa…
Sidney Polak Dzisiaj Natalia poszła do pracy, pierwszy raz choć męczy ją…
Van Morrison I'm walkin' down the street I'm on that midnight beat I'm on…
Vázquez Sounds Natalia se pierde en sus ojos de mar Su voz que…
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Geronimo Gerlin
Siendo extranjero interpreta la canción venezolana de tal respeto en la Guitarra como su nombre Natalia vals venezolano, se le aplaude su amor a nuestra música. Que hermosa interpretación.
Tlou Gamer
+Geronimo Gerlin siendo extranjero? si creo que vive donde nació….
César Mata
+Geronimo Gerlin ese es una pieza obligatoria a nivel mundial para graduarse de guitarrista profesional en cualquier instituto o conservatorio musical, bravo por el ejecutante y bravo por nuestro Antonio, saludos...
Ronnie Percak
+Geronimo Gerlin Asi es amigo!!
Natalia Lozada
Cuando era una niña (y eso hace mucho tiempo) y supe que este Vals se llamaba Natalia, supe que era para mi... y todavia lo siento :) me encanta como toda la música de mi país!!!
J.G. guerrero lobo
Maestro Antonio Lauro a 104 años de su nacimiento.
El célebre vals "Natalia", una breve pieza de menos de tres minutos de duración (tres secciones que se repiten completas) pero de alta exigencia técnica, es uno de los dieciséis valses venezolanos que escribió a lo largo de su vida y una de aquellas piezas que no pueden faltar en el repertorio del instrumento. La obra data de 1940 y durante veinticinco años se llamó simplemente Vals N° 3, pero el cariño de padre en las circunstancias apropiadas hizo que tomara el nombre de su hija Natalia, quien ha tenido la amabilidad de dejarnos referida aquí la historia con pelos y señales:
“Cuando papá compuso el valse, aún no se casaba con mi mamá y faltaban como 10 años para que yo naciera. La pieza formaba parte de un cuadernillo que tenía tres valses y ese era el número tres. Cuando yo cumplí 15 años, ya existía una versión para orquesta y papá me sacó a bailarlo, lo tocaba la orquesta de Daniel Milano. Bailando me lo dedicó y me dijo que a partir de ese día el tema llevaría mi nombre...".
Radovan Halir Ramos
Que hermosa historia! Aparte de uno de los mejores compositores americanos del siglo XX tuvo que haber sido un padre extraordinario y familiar.
ANGEL RUBEN CHOURIO RIVERO
Excelente tu comentario amigo
Daniel Cardenas
Sublime. Mi hijo menor se ganó la beca del programa Reina Sofía para estudiar en la Universidad Complutense de Madrid y una vez allá, aplicó para un intercambio estudiantil con Alemania, y fue a vivir un mes en Freiburg o Frisburgo. Pues la señora de la casa tocaba piano y al saber que él era venezolano, se sentó al piano y le tocó Natalia del maestro Antonio Lauro dedicada a su hija Natalia. Gratísima sorpresa se llevó mi hijo cuando escuchó tocar tan hermosa composición del maestro Lauro.
Roberto Martinez
Buena anécdota 👍