Magdalena Duhagon by Magdalena Duhagon

because of her refined expressiveness as well as for the enchantment of her phrasing and her transparent sound...(She) gave proofs of expressive and technical rigor".

As a soloist Ms. Duhagon performed at the Second International Guitar Festival "Ciudad de Montevideo" in Uruguay, as well as in Argentina, Paraguay, the United States, Canada, Europe and Middle East, giving concerts in cities like Paris, Berlin, Warsaw, Prague, Amsterdam, Alexandria, Cairo, Beyrouth and Amman. She has performed at venues such as the Terrace Theater of the Kennedy Center in Washington DC, the Cairo Opera House and the Wallenstein Palace in Prague, where she was soloist with the Czech Philharmonic Chamber Orchestra. Her performances have been broadcasted by the National Polish Radio and worldwide by the Voice of America, and she has been interviewed by Radio France and by international news agencies as EFE and AFP. She is an active chamber musician, being a member of the Del Sur Guitar Quartet along with Berta Rojas, Nestor Ausqui and Marcelo Cornut as well as being part of the Rojas- Duhagon duo and of duets with flutist Pablo Somma and soprano Amalia Laborde.

Magdalena Duhagon has given Masterclasses at the First Guitar Festival of Ireland and at the Conservatoire D'Alexandrie, Egypt. Currently, she integrates the faculties of the Washington Conservatory of Music, the North Potomac School of Music and Middle C Music, in the Washington D.C. area.

Ms. Duhagon holds a Bachelors degree in Music in Guitar Performance from the University Music School of Uruguay where she studied under Mario Paysée. She had also studied under Berta Rojas, Abel Carlevaro, Eduardo Fernández, Eduardo Isaac, Esteban Klísich and in Master Classes under Manuel Barrueco.

CD NOTES

"Batucada" by Uruguayan Isaias Savio (1900- 1978) is inspired by Brazilian Carnival and it uses a variation of the baiao rhythm of northeast Brazil.

American composer Robert Beaser (1954-) wrote "He's Gone Away" and "Cindy" as part of his Mountain Songs based on lyric ballads from the southern mountains of Appalachia.

"Anacleto de Medeiros" and "Chiquinha Gonzaga" by Brazilian Radames Gnatalli (1906-1988) are part of his suite Retratos, where he pays tribute to Brazilian popular music composers.

The "Aria (Cantilena)" from Bachianas brasileiras No.5 by Brazilian Heitor Villa- Lobos (1887-1959) was composed as an homage to Johann Sebastian Bach and the folkloric music of Brazil.

Quique Sinesi's (Argentina 1960-) "Cielo Abierto" is based on Candombe, the Afro-Uruguayan rhythm created by the use of three different drums and still alive in the streets, halls and carnivals of Uruguay.

Argentine Astor Piazzolla (1921-1992) revolutionized tango music creating what was called "new tango". "Night Club 1960" is the third movement of his Histoire du tango for flute and guitar.

Eduardo Fabini (1882-1950), from Uruguay, composed the "Triste No.1" based on that folk song form-Triste- from the Rio de la Plata region.

Catalan Fernando Sor (1778 - 1839) is one of the most important composers of the Classical Guitar. The unique last movement of the "Fantaisie op. 54" is 'in the Spanish style'.

"Habanera" and "Aragonaise" are part of the opera Carmen, by French composer Georges Bizet (1838-1875), one of the most popular operas of any age.

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