Diego Castro was born in the city of Santiago del Estero, Argentina, Diego Castro began to study the guitar at the "Asociación de Guitarristas Santiagueños" with professors Tulio Achával and Ricardo Cianferoni. Later he attended the University of San Juan, studying to become a professor of guitar. In addition he participated in many courses and guitar festivals, taking classes with Claudio Camisassa, Alvaro Pierri, Eduardo Egüez, Dolores Costollas, Eduardo Isaac, Ricardo Havenstein and Mariano Martín.
Diego has given concerts both as soloist, and also with groups that he has formed, performing throughout Argentina, in cities such as: Cordoba, Santiago del Estero, La Rioja, Paraná, Santa Fe, San Juan and Buenos Aires.
Diego is currently working with fellow guitarist Pablo Izurieta in a project titled: "Nueva Música Para Guitarra"
(new music for guitar)
For more information about Mr. Castro visit www.seiscuerdas.com/castro-izurieta/
It has been several years since I began to study the guitar, and took my first steps in music in my native city of Santiago del Estero in Argentina. It was there that I first had the opportunity of hearing the group 'Oregon', led then, as it is today, by guitarist and pianist, Ralph Towner.
Listening to this music was a real discovery for me; it gave me the idea of using the classical guitar within the context of a popular music group. Little by little, this idea began to influence me each time I approached a new composition for the classic guitar; feeling the necessity to combine the rhythms, form and structure of the popular music of the northern part of Argentina, with musical elements taken from jazz, classical music, and other musical styles.
Cabeza Loca was developed from one of my first exercises in fusing Argentine folkloric music with harmonies and musical elements totally alien to this musical genre, imagining all the time how Ralph Towner would have done this if he had been in contact with these musical forms. The structure of Cabeza Loca is similar to a 'gato', one of the folkloric dances to be found in the northern part of Argentina. The 'Gato' has a very defined structure, form, melodic pattern and rhythmic tempo, and also has a strict choreography for dancing.
Other characteristics that would be helpful when interpreting 'Cabeza Loca' would include a knowledge of the natural rhythmic accentuation to be found in the traditional 'Gato' and the way in which it is accompanied with the guitar using 'rasguidos' in the right hand, which altern percussive attacks or 'knocks' on the first three strings with open sounds on the other three strings.
It is possible to say many other things about the 'Gato', on which I have based my work, Cabeza Loca but I would like to suggest that, above all, it is music to be played as if to accompany dancers.