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Location of the Altiplano in South America

La Paz, Bolivia, the largest city of the Altiplano

Puno, Peru

Volcanoes in Sajama National Park (Parinacota and Pomerape)

The Altiplano (Spanish for high plain), in west-central South America, where the Andes are at their widest, is the most extensive area of high plateau on Earth outside of Tibet. Lake Titicaca is its best known geographical feature.

Location[link]

The Altiplano is an area of inland drainage (endorheism) lying in the central Andes, occupying parts of northern Chile and Argentina, western Bolivia and southern Peru. Its height averages about 3,750 meters (12,300 feet),^[1] slightly less than that of the Tibetan Plateau. Unlike conditions in Tibet, the Altiplano is dominated by massive active volcanoes of the Central Volcanic Zone to the west, such as Ampato (6288 m), Tutupaca (5816 m), Parinacota (6348 m), Guallatiri (6071 m), Cerro Paroma (5728 m), Cerro Uturuncu (6008 m) and Licancabur (5916 m), and the Cordillera Real in the north east with Illampu (6368 m), Huayna Potosi (6088 m), Ancohuma (6427 m) and Illimani (6438 m).^[2] The Atacama Desert, one of the driest areas on the planet, lies to the southwest of the Altiplano; to the east lies the humid Amazon Rainforest.

History[link]

At various times during the Pleistocene epoch, both the southern and northern Altiplano were covered by the vast pluvial lakes. Remnants are Lake Titicaca, straddling the Peru–Bolivia border, and Poopó, a salt lake that extends south of Oruro, Bolivia. Salar de Uyuni, locally known as Salar de Tunupa, and Salar de Coipasa are two large dry salt flats formed after the Altiplano paleolakes dried out.

Climatic zones[link]

The Bolivian Altiplano at approximately 14,000 feet. In the background rise the snow covered peaks of the Cordillera Real

The term Altiplano is sometimes used to identify the altitude zone and the type of climate that prevails within it: it is colder than that of the tierra fria but not as cold as that of the tierra helada. Scientists classify the latter as commencing at an elevation of approximately 4,500 meters (or about 15,000 feet). Alternate names used in place of altiplano in this context include puna and páramos.

Climate[link]

In extentum, the climate is cool and semi-arid to arid, with mean annual temperatures that vary from 3°C near the western mountain range to 12°C near Lake Titicaca; and total annual rainfall that ranges between less than 200 mm to the south west to more than 800 mm near and over Lake Titicaca. The diurnal cycle of temperature is very wide, with maximum temperatures on the order of 12 to 24°C and minima on the order of -20 to 10°C.^{[citation needed]} The coldest temperatures occur in the southwestern portion of the Altiplano during the months of June and July, which correspond to the Austral winter. The seasonal cycle of rainfall is marked, with the rainy season concentrated between December and March. The rest of the year tends to be very dry, cool, windy and sunny. Snowfall events may happen between April and September, especially to the north, but they are not very common (one to five events per year).

La Paz, Bolivia is the Altiplano's main city.

Panorama of Peruvian Altiplano.

Geology[link]

See also geology of Bolivia

Several mechanisms have been suggested as responsible for the formation of the Altiplano plateau; theories try to explain why the topography in the Andes incorporates this large area of low relief at high altitude (high plateau) within the orogen:

1. Existence of weaknesses in the Earth's crust prior to tectonic shortening. Such weaknesses would cause the partition of tectonic deformation and uplift into the eastern and western cordillera, leaving the necessary space for the formation of the altiplano basin.
2. Magmatic processes rooted in the asthenosphere might have contributed to uplift the plateau.
3. Climate has controlled the spatial distribution of erosion and sediment deposition, controlling the lubrication along the Nazca Plate subduction and hence influencing the transmission of tectonic forces into South America.
4. Climate also determined the formation of internal drainage (endorheism) and sediment trapping within the Andes, potentially blocking tectonic deformation in the central area between the two cordilleras, and expelling deformation towards the flanks of the orogen^[3].
5. Convective removal of dense lower lithosphere beneath the Altiplano caused that region to isostatically 'float' higher.

Communities[link]

• Uros
• Quechua
• Aymara

References[link]

External links[link]

Wikimedia Commons has media related to: Altiplano

• Water resources of Chilean Altiplano
• Steinmetz, George (July 2008). "Altiplano - Where Bolivia meets the sky". National Geographic Magazine. http://ngm.nationalgeographic.com/2008/07/bolivias-new-order/altiplano-guillermoprieto-text.html. 

Coordinates: 16°00′13″S 69°39′12″W / 16.00358°S 69.65332°W / -16.00358; -69.65332

Alim Qasimov
Alim Gasimov
Background information
Born	1957
Origin	Shamakhi, Azerbaijan
Genres	Mugham, Ashiq
Occupations	Musician
Instruments	Singing, Daf
Years active	1977–present
Associated acts	Farghana Qasimova

Alim Qasimov (born 1957) is an Azerbaijani musician, and one of the foremost mugam singers in Azerbaijan. He was awarded the International Music Council-UNESCO Music Prize in 1999, one of the highest international accolades for music. His music is characterised by his vocal improvisation and represents a move away from the traditional style of mugham.^[1] Qasimov has recorded nine albums, three of which are mugham albums with his daughter, Ferghana Qasimova.

According to The New York Times, "Alim Qasimov is simply one of the greatest singers alive, with a searing spontaneity that conjures passion and devotion, contemplation and incantation."^[2]

He joined fellow Azerbaijani, Sabina Babayeva on stage at the Grand Final of the Eurovision Song Contest 2012 in Baku to sing back vocals for her entry, When the Music Dies.

Biography[link]

Formative years[link]

Born in 1957, Qasimov grew up in Nobur near Shamakha, Azerbaijan, a village 100 km north of the capital Baku.^[3][4] His family worked on a Soviet commune and Qasimov worked alongside his parents from a young age.^[5] He later reflected that growing up in poverty helped him to live modestly later in life and he never attempted to extricate himself from his peasant background.^[6] Qasimov's father was an occasional singer with a good voice but he was a humble man; he never pursued a professional career in singing.^[3] Qasimov on the other hand was a keen singer from a young age and his parents noticed his musical desire.^[5] Lacking the money to buy him an instrument, his father used a frame and a goat's stomach lining to make a crude drum for his son.^[3]

He began singing at religious events and his parents suggested that he study music at school.^[5] The form proved difficult for him at times: once, while performing in a local music contest at the age of fourteen, the audience —thinking he did not grasp the correct traditional style—laughed him off the stage.^[3] Despite various setbacks, his parents urged him to persist and he did, enrolling in the Musiki Mektebi state music school in Baku at 21-years-old.^[5][6] The course consisted of four years of study, specialising in vocal technique and mugham — the repertoire of classical Azerbaijani song. It was here that Qasimov honed his voice and his teachers were so impressed that they encouraged him to take the final exams two years early. He refused, stating that he still needed time to perfect his abilities.^[6] He had realised that music was no longer a pastime for him, but rather a necessity, saying his sole talent and desire was for music.^[3] Over the final years of his study he refined his vocal technique, easily passing the final exam, but he later reflected that he had placed too much emphasis on vocal perfection; he believed it was not until later that he fully understood the deeper content and emotion of mugham.^[6]

Professional career[link]

Qasimov began singing professionally while Azerbaijan was still under Soviet rule and the mugham form had not received support from the state. Performances were restricted and, whilst a few singers aimed to preserve the history of the traditional style, the ruling communist party largely regarded it as a local curiosity.^[6] However, Qasimov's growing popularity was accompanied by declining Soviet influence and in 1983 he won the national Jabbar Garyaghdioghlu Singing Competition.^[3][6]

As his career progressed he was recognised internationally, winning awards at the 1983 and 1987 UNESCO Symposia on Traditional and Modern Art of Central Asian ans Asian Countries. His tours were very well received in his both home country and abroad; as travel outside the Soviet Union was rare for citizens at the time, his tours and concerts garnered much press and many television announcements.^[6] As his career was blossoming, so was his personal life — Qasimov and his wife, Tamilla Aslanova, had their first child in 1980, Ferghana Qasimova, and later had two more children: a son, Gadir, and second daughter, Dilruba. Despite such changes, Qasimov's background continued to shape his personality and music, dismissing the foreign influences found in cities and television.^[4]

Over time, Qasimov's style had developed to include not only traditional Azerbaijani music and mugham, but also ashiq, a rural bardic tradition with roots in Turkey, Azerbaijan and the Azeri region of Iran.^[7] In addition, he was influenced by artists from other disciplines, placing particular importance on Qawwali singer Nusrat Fateh Ali Khan: "When I heard him in concert many doors were opened for me and many questions answered".^[6] His success was all the more impressive for he had broken from the traditional style of mugham and brought his own interpretation to the genre. He saw this as a way of showing mugham to a wider audience and making it relevant to contemporary society, saying: "The world in which we live changes daily. Music has to lend emotional expression to this vitality. I accommodate that by seeking out new paths and interpretations".^[6] Similarly he revolutionised the strict mugham instrumentation, introducing his own improvisation and including new sounds such as the double-reeded balaban (also known as a duduk), the clarinet and the nagara, a metal-bodied drum.^[3] Additionally, he remained conscious of the need to modernise when choosing his ensemble; mixing older, experienced players with younger, more dynamic musicians.^[6]

The 1990s saw Qasimov tour widely with concerts in Iran, Brazil, the United States and throughout Europe.^[3] His music gained more exposure in Europe and North America when a chance meeting with American musician Jeff Buckley at a classical music festival in France resulted in a collaboration. Buckley was a fan of Qasimov's music and they performed a duet of "What Will You Say" which featured on Buckley's Live à l'Olympia release.^[5] Buckley, an avid listener of Qawwali, was highly impressed with Qasimov's performance, noting: "he just came with his drum, and he sang, and it was so pure and effortless... That's what the voice is for".^[8] Qasimov was equally pleased with the collaboration, stating that his American counterpart "was very gifted and had a real feeling for Eastern people." The performance resulted in the introduction of Qasimov's music to a broader Western audience.^[5]

Revitalised by Azerbaijan's declaration of independence from the Soviet Union, the artistic importance of Azeri culture, including both Qasimov and mugham, began to be recognised internationally. Qasimov was named the "People's Artist of Azerbaijan" in 1993 and earned the highest honour in his field in 1999 when he won the International IMC-UNESCO Music Prize — an award given to high calibre musicians such as Dmitri Shostakovich, Leonard Bernstein, Ravi Shankar and Nusrat Fateh Ali Khan.^[6][9] Partly helped by Qasimov's extensive touring and promotion of mugham, UNESCO proclaimed the mugham of Azerbaijan a "Masterpiece of the Oral and Intangible Heritage of Humanity" in 2003, reassuring the preservation of a centuries-old classical tradition.^[10][11] Similarly, the preservation of Qasimov's own music was assured as he recorded and internationally released his music for the first time, beginning with Classical Mugham, a 1996 collaboration with the Mansurov brothers, and following with Azerbaijan: Art of the Mugham and Legendary Art of Mugham in 1998.^[12]

2000 to present: Introducing Ferghana[link]

	"Bagishla mani" noicon from Love's Deep Ocean Demonstrating the mugham style
Problems listening to this file? See media help.

Qasimov's daughter, Ferghana Qasimova, had been informally practising with her father since the age of sixteen and was an avid student of mugham.^[3] By the age of twenty she had become a fully-fledged singer in her own right and Qasimov chose to introduce his daughter into his ensemble. Ferghana first appeared on 1997's The Legendary Art of Mugham on which the two shared the vocal tasks on the song Getme Getme. Their next album included a track, Bagishlamani, dedicated to his forebear; Nusrat Fateh Ali Khan.^[6] The release marked a high point for Qasimov as it was his first widely available release to western audiences and it proved a critical success.^[13] His aim to reconnect younger generations with mugham began to pay dividends; not only was he appealing to traditional Islamic sections of the Azerbaijani population, but also to more Americanised and modern audiences.^[5] The break through amongst the younger generations spurred him on: "Sometimes young people come up after a concert to thank me. That's like giving me wings. I feel so elated when I can awaken such feelings in people while they are still young; mugham is not an easy genre for young people to understand".^[3]

Qasimov recorded and released further works with The Art of Mugham in 1997 and Central Asian Series, Vol. 6: Spiritual Music of Azerbaijan in 2007.^[12] He took the opportunity to perform in New York City in 2005 as part of Yo-Yo Ma's Silk Road Project. The concert aimed to promote multi-cultural artistic exchange between eastern and western cultures and The New York Times regarded Qasimov's performance, alongside Malik Mansurov and Rauf Islamov, as the highlight of the event.^[14] He toured throughout Europe, now bringing Ferghana along with him, and was in demand to appear at spiritual music festivals in countries such as France and Egypt.^[4][15] Their performances were often critically acclaimed, regardless of the location. Remarking upon a performance in London as part of "Voices of Central Asia", Michael Church stated in The Independent that "initial shock turned to delight as we were drawn into his intimate, multicoloured world".^[16] The father and daughter duo paid dividends and, following their performance in Cairo in May 2008, Al-Ahram Weekly stressed the qualities of their powerful vocal unity and stage presence, describing Qasimov as "a master of mugham".^[4]

Their brand of mugham proved equally popular the following September, performing a collaboration with experimental classical group the Kronos Quartet. Band leader David Harrington was keen to work with the Azerbaijani for the Ramadan Nights Festival, saying: "I realised his voice was as unique as Nusrat Fateh Ali Khan's, or the tenor John McCormack's in Irish ballads, or Bessie Smith's in St Louis Blues. There's a special quality to that voice, a connection between it and his inner life...he is up there in the top five of all time [singers]".^[5][17] Despite initial problems involving the Kronos Quartet's arrangements and Qasimov's improvisation, the event received positive reviews. Robin Denselow of The Guardian opined that Qasimov "is certainly one of the most thrilling, unashamedly emotional performers on the planet, and the finest exponent of mugham".^[18]

Influence and legacy[link]

In 21 November 2009, he was included in a 500 most influential Muslims of world book.^[19][20][21] The Icelandic singer Björk complimented Qasimov, by naming him as her "favourite singer alive today".^[22][23] In 2010, Alim Qasimov was nominated for the United States National Public Radio's "50 great voices in recorded history" award. ^[24]

Discography[link]

Alim Gasimov on the semi-final allocation draw ceremony of Eurovision Song Contest 2012

Albums[link]

• Classical Mugham (3 January 1996)
• The Art of Mugham: Azerbaidjan (Live) (1 December 1997)
• The Mugham of Azerbaidjan (1 October 1999)
• Love's Deep Ocean (11 October 1999) with Ferghana Qasimova
• The Legendary Art of Mugham (15 October 1997) with Alim Qasimov Ensemble
• Central Asian Series, Vol. 6: Spiritual Music of Azerbaijan (25 September 2007) with Ferghana Qasimova
• "Intimate dialogue" - Live at Morgenland Festival Osnabrück 2009 with Ferghana Qasimova

Singles[link]

References[link]

Further reading[link]

• Alim and Fergana Qasimov: The Master and his Pearl Interview with Qasimov in Al-Ahram Weekly

External links[link]

• Alim and Ferghana Qasimov performing live

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Leo Brouwer
File:Leo brouwer.jpg
Background information
Birth name	Juan Leovigildo Brouwer Mezquida
Born	(1939-03-01) March 1, 1939 (age 73) Havana, Cuba
Genres	Folkloric, Aleatoric, Atonal
Occupations	Composer, Classical guitarist, Conductor
Years active	1968-
Labels	Egrem

Juan Leovigildo Brouwer Mezquida (born March 1, 1939 in Havana) is a Cuban composer, conductor and guitarist. He is the grandson of Cuban composer Ernestina Lecuona Casado.^[1]

Biography[link]

As a child, Brouwer received his initial stimulus from his father, a physician, who was an aficionado of Villa-Lobos, Tárrega and Granados. He initiated his son encouraging him to play these composers' works, mostly by ear.

Young Brouwer received his first formal guitar instruction from the noted Cuban guitarist and pedagogue Isaac Nicola, in turn a disciple of Emilio Pujol. Afterwards, Brouwer went to the United States to study music at the Hartt College of Music of the University of Hartford, and later at the Juilliard School, where he studied under Vincent Persichetti and took composition classes with Stefan Wolpe.

In 1970 Brouwer played in the premiere of El Cimarrón by Hans Werner Henze in Berlin. Together with Morton Feldman, he was awarded a 1972 scholarship by the DAAD (German Academic Exchange Service) being guest composer and lecturer of Academy of Science and Arts of Berlin. In Germany Brouwer also recorded a number of LPs for Deutsche Grammophon.^[2][3][4]

Brouwer's playing career ended in the early 1980s due to an injury to a tendon in his right hand middle finger.^[5][6]

Brouwer's early works show the influence of Cuban folk music, but during the 1960s and 70s, he became interested in the music of modernist composers such as Luigi Nono and Iannis Xenakis, using indeterminacy in works such as Sonograma I. Other works from this period include the guitar pieces Canticum (1968), La espiral eterna (1971), Parábola (1973) and Tarantos (1974). More recently, Brouwer's works have started leaning towards tonality and modality. The solo guitar works El Decamerón Negro (1981) the Sonata (1990; for Julian Bream) and Paisaje cubano con campanas (1986) exemplify this tendency.

Among his works are a large number of solo guitar pieces, several guitar concertos and over forty film scores. Leo Brouwer is involved in the "Concurso y Festival Internacional de Guitarra de la Habana" (International Guitar Festival of the Havana). He travels often to attend guitar festivals throughout the world, and especially to other Latin American countries.^[7]

Modern music[link]

Brouwer is best known for his performances and compositions of modern music. He has performed and recorded works by Sylvano Bussotti, Hans Werner Henze, Maurice Ohana, Cristóbal Halffter, Cornelius Cardew, Heitor Villa-Lobos, etc.^[8]

Functionary and Communist Party Member[link]

Brouwer has held a number of official posts in Cuba, including the directorship of the Cinema Institute of Cuba's music department.

Selected Works[link]

Works for Guitar[link]

Solo Guitar[link]

• 1955 Suite No. 1 Antigua
• 1955 Suite No. 2
• 1956 Preludio
• 1957 Danza Característica "Quítate de la Acera"
• 1959 Fuga No. 1
• 1959 Tres Apuntes
• 1964 Danza del Altiplano
• 1964 Elogio de la Danza
• 1968 Canticum
• 1968 Un Dia de Noviembre
• 1971 La Espiral Eterna
• 1973 Parábola
• 1973 Estudios Sencillos (Nos. 1-10)
• 1974 Tarantos
• 1975 Cadences
• 1981 El Decamerón Negro
• 1981 Preludios Epigramáticos No. 1-6
• 1984 Variations on a Theme of Django Reinhardt
• 1986 Paisaje Cubano con Campanas
• 1990 Sonata

• Fandangos y boleros

• Sarabanda de Scriabin

• Toccata de Pasquini

• 1993 Rito de los Orishás
• 1996 Hika: In Memoriam Toru Takemitsu
• 1996 Hoja de album
• 1996 Paisaje Cubano con Tristeza'"
• 1999 An Idea (Passacaglia por Eli)
• 2000 Viaje a la Semilla
• 2001 Nuevos Estudios Sencillos No. 11-20
• 2004 La Ciudad De Las Columnas (Variaciones sobre "Pieza sin Título Nº1")
• 2007 Paisaje Cubano con fiesta
• Canción Triste
• Cantilena de los bosques dedicata a Roberto Fabbri
• Dos aires populares cubanos
• Guajira criolla
• Zapateado
• Piezas sin títulos No. 1-3
• Variations on a Piazzolla Tango
• Dos Temas populares cubanos

• Drume negrita, cancion de cuna (Berceuse)

• Ojos Brujos

Guitar Ensemble[link]

Guitar Duo[link]

• 1957-1958 Micropiezas Hommage à Darius Milhaud
• 1958 Micropiezas No.5
• 1964 Música incidental campesina, (music for Theaterplay El fantasma)
• Per Suonare a Due
• Triptoco

Guitar Quartet[link]

• Canciones remotas
• Toccata para cuatro o más guitarras
• Toccata
• Paisaje Cubano Con Rumba
• Paisaje Cubano con lluvia

Guitar Orchestra[link]

• 1958 Tres danzas concertantes
• 1979 Acerca del cielo, el aire y la sonrisa
• 1983 Retrats Catalans
• 1985 From yesterday to Penny Lane
• 1995 Concierto Omaggio a Paganini (concerto for guitar and violin)

Guitar and stringquartet[link]

• 198?5? Quintet for guitar and stringguartet

Guitar Concertos / Concierto para Guitarra[link]

• 19?? Concierto p.g. No. 1
• 1981 Concierto p.g. No. 2 de Lieja
• 1986 Concierto p.g. No. 3 Elegiaco
• 1987 Concierto p.g. No. 4 de Toronto
• 1991 Concierto p.g. No. 5 de Helsinki
• 1997 Concierto p.g. No. 6 de Volos
• 1998 Concierto p.g. No. 7 "La Habana"
• 1999 Concierto p.g. No. 8 "Concierto Cantata de Perugia"
• 2002 Concierto p.g. No. 9 "de Benicassim"
• 2003 Concierto p.g. No. 10 "Book of Signs" (concerto for two guitars)
• 2007 Concierto p.g. No. 11 "de Requim (In memoriam Toru Takemitsu)"

Other Works[link]

Solo Instruments[link]

• 1960 Sonata para cello solo
• 1962 Variantes para un percusionista
• 1970 "Sonata 'pian e forte' " for Roger Woodward

Chamber Music[link]

String Quartets[link]

• 1961 Cuarteto de cuerdas No. 1, a la memoria de Bela Bártok
• Cuarteto de cuerdas No. 2
• Cuarteto de cuerdas No. 3
• Demeter Prelude

Other Chamber Music[link]

• 1970 Sonata piane forte for Piano and recorded tape
• 1970 Per suonare a Tre (flute, alto, and guitar
• 1983 Manuscrito antiguo encontrado en una botella for pianotrio
• Balada for Flute and Strings
• Canción de Gesta (para orquesta de cámara)
• Sonate pour Cor et Piano
• Pictures of Another Exhibition (violin, choir, and piano)
• La Region Mas Transparente (flute and piano)
• Basso Continuo I (2 clarinets)
• La Vida Misma (piano, violin, cello and percussion)'

Orchestra[link]

• 1984 Canciones remotas for string orchestra
• Symphonie No. 1 (orchester)
• Remembrances (orchester)
• Anima Latina (Orchester)
• Cadence Quatuor en Ré

Orchestra with other solo instruments[link]

• 1972 Balada, concierto para flauta y orquesta de cuerdas (flute und orchester)
• 1972 Concierto para violín y orquesta (violin and orchester)
• 1981 Cancion de Gesta (For the Boat Loaded with the Future) (symphonic windorchester with piano)

Choir[link]

• Canciones Amatorias (para coro mixto, sobre textos de Federico García Lorca y José Hernández) (for SATB-choir)

Scores[link]

He composed music for the sound track of the celebrated Mexican movie Como Agua Para Chocolate (1992).^[9] He composed the orchestral score for Vicente Amigo's flamenco album, Poeta.

Original score for the Cuban film La Última Cena (The Last Supper), directed by Tomás Gutiérrez Alea ^[10]

• 1960: Historias de la revolución
• 1965: Vaqueros del cauto
• 1966: Papeles son papeles
• 1966: La muerte de un burócrata
• 1967: Las aventuras de Juan Quin Quin
• 1968: LBJ
• 1968: Hanoi, martes 13
• 1968: Memorias del subdesarrollo
• 1968: Lucía
• 1969: Despegue a las 18:00
• 1971: La bataille des dix millions
• 1972: Una pelea cubana contra los demonios
• 1973: El extraño caso de Rachel K
• 1973: El hombre de Maisinicú
• 1975: Abril de Vietnam en el año del gato
• 1975: Ustedes tienen la palabra
• 1976: Un día de noviembre
• 1976: La cantata de Chile
• 1976: La última cena
• 1977: Mi hermano Fidel
• 1977: Destino manifiesto
• 1978: Son o no son
• 1978: El recurso del método
• 1979: No hay sábado sin sol
• 1979: The survivors (Los sobrevivientes)
• 1979: La viuda de Montiel
• 1980: La guerra necesaria
• 1982: Una y otra vez
• 1983: Tiempo de amar
• 1983: Los refugiados de la cueva del muerto
• 1983: Alsino y el cóndor
• 1983: La rosa de los vientos
• 1983: Cecilia
• 1983: Hasta cierto punto
• 1984: La segunda hora de Esteban Zayas
• 1985: Cuando una mujer no duerme
• 1985: Wild dogs (Jíbaro)
• 1985: Amada – a woman from Havanna
• 1986: Tiempo de morir
• 1992: Like Water for Chocolate (Como agua para chocolate)
• 1995: Un héroe se hace a patadas
• 1995: A Walk in the Clouds
• 1998: Mátame mucho
• 2002: Ficción sin ficción
• 2003: Memorias de Lucía
• 2004: Lucía y el tiempo
• 2004: La persistencia de la memoria
• 2005: Kordavision

References[link]

1. ^ Sadie, Julie Anne; Samuel, Rhian (1994) (Digitized online by GoogleBooks). The Norton/Grove dictionary of women composers. http://books.google.com/books?id=IvoQQU1QL_QC&pg=PA272&dq=Ernestina+Lecuona+Casado+(1882%E2%80%931951)&hl=en&ei=-QU2TfTeKc-p8Aa1_bCHBg&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Ernestina%20Lecuona%20Casado%20(1882%E2%80%931951)&f=false. Retrieved 4 October 2010. 
2. ^ LP: Hans Werner Henze - El Cimarrón (CD reissue)
3. ^ LP: Debut - Leo Brouwer, Gitarre (CD reissue of the modern works)
4. ^ LP: Musique Contemporaine pour guitare (CD reissue)
5. ^ Leo Brouwer Artist Profile/Interview
6. ^ Clive Kronenberg on Leo Brouwer
7. ^ Brouwer, Leo; Hdez, Hernández; Carmona (2004). Leo Brouwer: gajes del oficio. 
8. ^ Rara Recording by Leo Brouwer
9. ^ IMDb movie credits - Leo Brouwer as author of Original Music
10. ^ [1]

• Andy Daly, Leo Brouwer. Music Web International, accessed June 9, 2011

External links[link]

Cuba portal

• Leo Brouwer at AfriClassical.com

Publishers[link]

• Chester Music and Novello & Company

Recordings[link]

• De Bach a Los Beatles (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. I. Brouwer por Brouwer. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. II. Brouwer intérprete. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. III. Re-creaciones. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. IV. Conciertos para guitarra y orquesta. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. V. Brouwer por los maestros Rey Guerra y Joaquín Clerch. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. VI. Presencia en el Festival Internacional de guitarra... (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. VII. Ensambles con guitarras. (EGREM)
• La obra guitarrística de Leo Brouwer. Vol. VIII. Actuaciones memorables. (EGREM)
• Rara (Deutsche Grammophon) (from LP: Musique Contemporaine pour guitare, also includes a subset (the modern works) from Debut - Leo Brouwer, Gitarre)
• Hans Werner Henze: El Cimarrón (Deutsche Grammophon)
• Leo Brouwer & Orquesta de Cordoba (GHA)
• Pierri and Russell with Brouwer Acerca del cielo, el aire y la sonrisa (HOMA dream, HR1050 / 2,400JPY)
• Leo Brouwer Collection Vol.1-6 (Frame)
• Homoludens Brouwer with Chucho Valdés & Silvio Rodríguez (Producciones Colibrí CD-024—Instituto Cubano de la Música) [2]
• Leo Brouwer - GuitArt Quartet Works for four guitars
• Penny Lane - Leo and Ichiro with Ichiro Suzuki (鈴木一郎 or バルセロナ）(Camerata Tokyo) (original LP cover / Liner Notes)
• Leo Brouwer (Select Collection Classique)
• Scarlatti: Douze Sonates (Erato) (original LP cover / Liner Notes)
• The Classics of Cuba (Erato)

Films[link]

• List of films with music portions or whole soundtracks by Leo Brouwer

"LEO BROUWER" (2000). Documentary (35mm- 57 min). Written and Directed by JOSE PADRON. Co-Production ICAIC (Cuba), SGAE and Fundacion Author de la Sociedad General de Autores y Editores de España (SGAE).

"LEO BROUWER-IRAKERE" (1978). Documentary (35mm-24 min). Written and Directed by JOSE PADRON. Production Instituto Cubano del Arte e Industria Cinematograficos (ICAIC).

Videos[link]

• Leo Brouwer - Diario Italico with GuitArt Quartet (2001)
• Homoludens - DVD

"LEO BROUWER" is the most important and complete documentary of the life and work of Leo Brouwer. It was written and directed by the Cuban film maker JOSE PADRÓN between 1996 and 2000. The film was the result of a co-production between the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC), the Sociedad General de Autores y Editores de España (SGAE=, and the Fundación Author of SGAE. The master negative was produced in 35mm with a duration of 57 minutes. ICAIC distributes it in private copies in the original Spanish as well as those with English sub-titles.

"LEO BROUWER-IRAKERE" documents an exceptional concert that sought to break the barrier between classical and popular music (Havana, 1978). Thus, it brought together for the first time Leo Brouwer -considered at the time one of the world´s most important guitar soloists - and the Afro-Cuban jazz group IRAKERE. The group, winner of a GRAMMY in 1978, and the # 1 ranking Latino jazz band, includes trumpeter Arturo Sandoval, saxophonist Paquito de Rivera, and pianist Chucho Valdés. The event brought together other stars as well. The film was written and directed by Cuban film maker JOSE PADRÓN between 1978 and 1979. Production was by the Instituto Cubano del Arte e Industria Cinematográficos(ICAIC). The master negative was produced in 35mm with a duration of 24 minutes. ICAIC distributes it in private copies in the original Spanish as well as those with English sub-titles, together with the documentary "LEO BROUWER" of 57 minutes duration.

"FICTION WITHOUT FICTION" is a 30-minute version of the 57-minute documentary "LEO BROUWER. It summarizes the life and work of Leo Brouwer, and was written directed by Cuban film maker JOSE PADRÓN in 2002, and produced by PADRÓN himself with collaboration of the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). The master negative was produced in 35mm, but was edited in AVID. ICAIC distributes it in private copies in the original Spanish as well as those with English sub-titles.

Articles[link]

• Hablar con Leo (Spanish)
• Cosmology in sounds (on Leo Brouwer's "La Espiral Eterna") by Eduardo Fernández
• Let us play for our children A Reappraisal - for the Guitar Tutor (Clive Kronenberg, www.guitarramagazine.com)
• Hombre que juega Pedro de la Hoz, 2004 (Granma) (Spanish)
• Maiden concert of The Cordoba Orchestra conducted by Leo Brouwer (1992) - in the Cordobapedia, the city of Córdoba's wiki
• El Decameron Negro by Arnaud Dumond (French)

Interviews[link]

• 1 2 Entretiens avec Leo Brouwer by Arnaud Dumond, Françoise-Emmanuelle Denis (French)
• ¿Qué Hacer Con La Música Popular Cubana? by Jaime Sarusky (Grupo de Experimentación Sonora del ICAIC), 2004 (Revista Revolución y Cultura) (Spanish)
• An Interview With Leo Brouwer by Constance McKenna, 1988 Guitar Review, No. 75
• Leo Brouwer Artist Profile/Interview Classical Guitar Alive! (mp3)
• Leo Brouwer y su aportación a la composición guitarrística de Vanguardia Carolina Queipo Gutirrez, 2002 (guitarra.artelinkado) (Spanish)

Bibliography[link]

• Leo Brouwer by Isabelle Hernández. (Andante. Editora Musical de Cuba) ISBN 959-7153-01-7
• Gajes del oficio by Leo Brouwer [3]

Biography[link]

• Biography (also in Spanish and French)
• Afro-Cuban Composer, Guitarist & Conductor (also in French)
• Biography (Cubacine) (Spanish)
• Leo Brouwer at the Mikulov Guitar Festival 2008 (tracktime 8:40 - 17:55) - video by Česká televise

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