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Evolución Estilística De La Obra De Leonardo Balada
DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL, DOCUMENTACIÓN E HISTORIA DEL ARTE PROGRAMA DE DOCTORADO EN MÚSICA EVOLUCIÓN ESTILÍSTICA DE LA OBRA DE LEONARDO BALADA. TESIS DOCTORAL Presentada por Idoia Uribarri Berrojalbiz Dirigida por el Dr. Jorge Sastre Martínez Valencia, Mayo de 2017. A mis aitas i ii ÍNDICE Agradecimientos ................................................................................................. v Resumen / Abstract / Resum .............................................................. vii, viii y ix 1. INTRODUCCIÓN. 1.1 Justificación y objetivos .................................................................... 1 1.2 Generalidades y particularidades ....................................................... 6 1.3 Metodología ...................................................................................... 9 2. LEONARDO BALADA Y SU TIEMPO. 2.1 Biografía .......................................................................................... 13 2.2 Contexto artístico ............................................................................ 36 3. PERIODOS ESTILÍSTICOS. 3.1 Primer periodo. 3.1.1 Características del periodo ............................................... 49 3.1.2 Introducción a Concert for Cello and 9 players .............. 52 3.1.3 Análisis ............................................................................. 55 3.1.4 Conclusiones ..................................................................... 97 3.2 Segundo periodo. 3.2.1 Características del periodo ............................................ -
Daniil Trifonov
Daniil Trifonov Thursday, February 1, 2018 at 8:00pm This is the 798th concert in Koerner Hall PROGRAM Federico Mompou: Variations on a Theme of Chopin Robert Schumann: “Chopin” from Carnaval: Scènes mignonnes sur quatre notes, op. 9 Edvard Grieg: “Hommage à Chopin“ from Moods, op. 73 Samuel Barber: Nocturne (Homage to John Field), op. 33 Pyotr Il’yich Tchaikovsky: “Un poco di Chopin,” op. 72, no. 15 Sergei Rachmaninov: Variations on a Theme of Chopin, op. 22 Tema: Largo Variation 1: Moderato Variation 2: Allegro Variation 3: L’istesso tempo Variation 4: L’istesso tempo Variation 5: Meno mosso Variation 6: Meno mosso Variation 7: Allegro Variation 8: L’istesso tempo Variation 9: L’istesso tempo Variation 10: Più vivo Variation 12: Moderato Variation 13: Largo Variation 14: Moderato Variation 15: Allegro scherzando Variation 16: Lento Variation 17: Grave Variation 20: Presto Variation 21: Andante Variation 22: Maestoso – Tempo 1 Tema INTERMISSION Fryderyk Chopin: Variations on “Là ci darem la mano” from Mozart’s Don Giovanni, op. 2 Introduction. Largo—Poco più mosso Thema. Allegretto Variation 1. Brillante Variation 2. Veloce, ma accuratamente Variation 3. Sempre sostenuto Variation 4. Con bravura Variation 5. Adagio and Alla Polacca Fryderyk Chopin: Piano Sonata No. 2 in B flat Minor, op. 35 I. Grave - Doppio movimento II. Scherzo III. Marche funèbre: Lento IV. Finale: Presto Federico Mompou Born in Barcelona, Spain, April 16, 1893; died there, June 30, 1987 Variations on a Theme of Chopin (1938-57) Catalan composer Federico Mompou composed the earliest sketches for his Variations on a Theme of Chopin in 1938 in Paris, almost a century after the Polish composer died in his adopted city. -
579056 Itunes Balada
Leonardo BALADA Works for Clarinet Caprichos Nos. 6 and 7 • Double Concerto Ivan Ivanov, Clarinet Leta Chin, Greta Mutlu, Violin Sarah Lee, Cello Annie Gordon, Kristine Rominski, Flute Rebecca Bush, Percussion Jacob Polaczyk, Erberk Eryılmaz , Piano Geoffrey Larson Leonardo Leonardo Balada (b. 1933) Caprichos Nos. 6 and 7 • Double Concerto BA(bL. 1A933D) A A native of Spain, composer Leonardo Balada (b. 1933) Balada’s creative style has been labeled ‘Dali’s graduated from Barcelona’s Conservatorio del Liceu and Surrealism in music’, yet historically the link between The Juilliard School. He has been on the faculty of the surrealist aesthetics and musical composition has been Carnegie Mellon School of Music since 1970, where he is poorly understood. When I realised the deep importance of Works for Clarinet university professor of composition. He has been Dalí to Balada, suddenly everything in his compositions commissioned by the Aspen Music Festival, the San become logical and meaningful to me, and I recorded his Caprichos No. 7 ‘Fantasies of La Tarara’ Diego Opera, the orchestras of Pittsburgh, Cincinnati and music with passion. To understand Balada as a surrealist Chamber concerto for clarinet and instrumental ensemble Lausanne, the Spanish National Orchestra, Berlin Radio composer, it is best to begin with his Caprichos , two of which Symphony Orchestra and other organisations, and has are included on this recording. The term ‘ caprichos ’ has a 1 (2009) 23:03 received several awards from the National Endowment for special place in Spanish history and culture. Far from being the Arts. Balada’s works have been performed by the the lighthearted cultural fantasy implied by other composers 2 I. -
Analisis Y Adaptación Del Concierto De Aranjuez Para Guitarra Solista Y Dos Guitarras Acompañantes. John David Quijano Rodríg
ANALISIS Y ADAPTACIÓN DEL CONCIERTO DE ARANJUEZ PARA GUITARRA SOLISTA Y DOS GUITARRAS ACOMPAÑANTES. JOHN DAVID QUIJANO RODRÍGUEZ PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES DEPARTAMENTO DE ESTUDIOS MUSICALES BOGOTÁ, D.C. 2013 ANALISIS Y ADAPTACIÓN DEL CONCIERTO DE ARANJUEZ PARA GUITARRA SOLISTA Y DOS GUITARRAS ACOMPAÑANTES. JOHN DAVID QUIJANO RODRÍGUEZ Proyecto de Grado PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES DEPARTAMENTO DE ESTUDIOS MUSICALES BOGOTÁ, D.C. 2013 Tabla de Contenido Introducción …………………………………………………................................ 4 Marco Teórico ……………………………………………………………………... 5 Justificación del proyecto ………………………………………………………….. 7 Análisis - Primer movimiento …………………………………………………… 9 - Segundo movimiento …………………………………………………… 10 - Tercer Movimiento …………………………………………………… 12 Conclusión ………………………………………………………………………. 14 Bibliografía ………………………………………………………………………. 15 Anexos - Partituras (Score) Guitarras acompañantes -Movimiento I -Movimiento II -Movimiento III - Partitura Guitarra I -Movimiento I -Movimiento II -Movimiento III - Partitura Guitarra II -Movimiento I -Movimiento II -Movimiento III - Partitura Guitarra Solista y piano acompañante -Movimiento I -Movimiento II -Movimiento III Introducción El compositor español Joaquín Rodrigo es considerado uno de los más importantes del siglo XX e influyente representante del nacionalismo español. Mediante sus aportes ha trascendido en la música académica, e incluso popular y ha contribuido de manera significativa al repertorio guitarrístico. El Concierto de Aranjuez es -
660198-99 Bk Mayr EU
572176 bk Balada US 20/10/10 13:31 Page 12 Leonardo Balada Leonardo Nació en Barcelona el 22 de Septiembre de 1933. Tras cursar sus estudios de piano y teoría en el Conservatorio del Liceu de Barcelona, se trasladó a Nueva York en donde concluyó sus estudios de composición en la Juilliard School en 1960. Entre sus maestros figuran Aaron Copland, Vincent Percichetti y Igor Markevitch. En la actualidad es BALADA catedrático de Composición en la Universidad Carnegie Mellon de Pittsburgh, EE.UU. Algunas de sus obras más conocidas fueron compuestas en un estilo de gran drama dentro de la vanguardia de los años sesenta (Guernica, María Sabina, Steel Symphony, No-res etc.). Posteriormente se le reconoce como pionero en la simbiosis de música étnica con las técnicas vanguardistas, con lo que ha creado un estilo personal e influyente, Caprichos Nos. 2, 3 and 4 estilo iniciado con Sinfonía en Negro- Homenaje a Martin L.King(1968) y Homenajes a Casals y Sarasate(1975). Ha recibido varios premios internacionales y una distinción de la American Academy of Arts and Letters por su relevante carrera y en reconocimiento a su personalidad artística. Andrés Cárdenes, Violin / Conductor Su extensa lista de obras se interpretan regularmente en Europa y América por las principales orquestas y solistas. Entre las primeras figuran las Filarmónicas de Nueva York, Los Ángeles, Israel; la Orquesta de Filadelfia; las Sinfónicas de Pittsburgh, Dallas, Cincinnati, Detroit, New Orleans, Praga, México, Sao Paulo, Barcelona, Jeffrey Turner, Double bass Düsseldorf; Orquestas Nacionales de Washington, Irlanda, España, Colombia, Lima, Lyon, Toulouse, Jerusalén; Philarmonia de Londres; orquestas de las radios de Luxemburgo, BBC(Manchester), Berlín, Leipzig, Helsinki, Pittsburgh Sinfonietta Lawrence Loh Hannover, RTV Española, Moscú, Orq. -
Pictures at an Exhibition 2018 Concierto De Aranjuez for Guitar and Orchestra
Pictures at an Exhibition 2018 Concierto de Aranjuez for Guitar and Orchestra (1939) JOAQUÍN RODRIGO ■ 1901-1999 Though Joaquín Rodrigo, born on November 22, 1901 at Sagunto, Valencia, on Spain’s eastern coast, lost his sight when he was three from diphtheria, he early showed a pronounced aptitude for music. His parents enrolled him in a school for blind children in the nearby city of Valencia, and at age eight, he began formal lessons in harmony, piano and violin; his teachers in composition included Francisco Antich, Enrique Gomá and Eduardo López Chavarri. During the 1920s, Rodrigo established himself as a pianist with performances of challenging recent works by Ravel, Stravinsky and other contemporary composers, and he began composing seriously in 1923 with the Suite para Piano and the Dos Esbozos (“Two Sketches”) for Violin and Piano. His first work for orchestra, Juglares (written, like all of his scores, on a Braille music typewriter and then dictated to a copyist), was played in both Valencia and Madrid in 1924; his Cinco Piezas Infantiles, also for orchestra, won a National Prize the following year. In 1927, he followed the path of his compatriots Albéniz, Granados, Falla and Turina, and moved to Paris, where he enrolled at the Schola Cantorum as a pupil of Paul Dukas. Rodrigo immersed himself in the musical life of the city, befriending Honegger, Milhaud, Ravel and other Parisian luminaries, receiving encouragement from Falla, and enjoying success with a performance of his orchestral Prelude for a Poem to the Alhambra, whose subject matter and distinctly Spanish idiom established the style that consistently characterized his creations. -
JOAQUIN RODRIGO VIDRE (1901-1999) Marquis of Jardines De
JOAQUIN RODRIGO VIDRE (1901‐1999) an honourable mention from the jury and was Marquis of Jardines de Aranjuez premiered with great success in Valencia and Paris in LIFE AND WORKS 1927 and 1929 respectively. By the latter date Joaquín was studying with his French master Paul Dukas in the LIFE École Normale de Musique in Paris. Rodrigo had decided Joaquín Rodrigo was born in Sagunto, in the province of to move to France in 1927, since the French capital had Valencia on the Mediterranean coast of Spain, on St been from the beginning of the century an important Cecilia's Day, 22 November 1901. The year 2001 thus cultural centre for Spanish writers, painters and marked the centenary of the composer's birth. He was musicians. It was to be expected, therefore, that the the youngest of ten children born to Vicente Rodrigo young Joaquín Rodrigo would want to follow in the Peirats, a landowner from Almenara (Castellón). His footsteps of Albéniz, Falla and Turina. mother, Vicente Rodrigo's second wife, was Juana Vidre Ribelles. In 1905 an epidemic of diphtheria occurred in The youthful works of Joaquín Rodrigo are characterized Sagunto, as a result of which many children died and by a delicate lyrical style, orchestral colours which are at Joaquín became virtually blind. The composer would say times quite daring, and a harmonic vocabulary later, without bitterness, that this personal tragedy reminiscent of Ravel and Granados, among others. These probably led him towards a career in music. characteristics, and others, would be confirmed and developed through the years of study with Paul Dukas. -
UNIVERSITY of CALIFORNIA RIVERSIDE Fleeing Franco's Spain
UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H. Gluck Fellowship provided several years of support while studying in Riverside. Graduate Division also supported me with multiple travel grants, enabling me to share my research at conferences across the country. Members of the Pacific-Southwest and Northern California chapters of the American Musicological Society were particularly valuable in offering substantial commentary on early versions of what are now chapters in this dissertation. -
Carnegie Mellon Wind Ensemble Denis Colwell 1 7 • Stephen Story 2 Thomas Thompson 3-5 • George Vosburgh 6
Leonardo BALADA Concerto for Piano, Winds and Percussion Cello Concerto • Viola Concerto • Cumbres • Sonata for Ten Winds Enrique Graf, Piano • David Premo, Cello • Ashan Pillai, Viola Carnegie Mellon Wind Ensemble Colwell • Story • Thompson • Vosburgh Leonardo Balada (b. 1933) clusters, intermingled with triadic sounds and other virtuosic figurations. As a modernistic composition, devices that I like to call “recycling” of traditional textural dense sonorities, sometimes punctuated by Music for Wind Ensemble techniques. staccatos, contrast with lyrical designs. Since a pioneering meeting in the early 1960s at this happens through the entire work. Cumbres (Heights), This work was first performed on April 15th, 1974, at The material is freely taken from the Catalan folk Columbia University in New York in which young however, better reflects the character of the work, its Carnegie Hall in New York by Harry Franklin, pianist, and melody La Gata i el Belitre (The Cat and The Dog), although composers listened to Otto Luening and Ussachevsky insistent exploration of the high registers of the the Carnegie Mellon Symphonic Wind Ensemble, Richard this melody is hardly heard in an obvious way, except in discuss the early stages of electronic music, I have been instruments, the ascending motion of the music in the Strange, conductor. It is dedicated to those artists. the context of the brief sporadic appearance of the rhythm intrigued by this relatively new kind of “music”. Because I climaxes, and above all, its dramatic quality. of a sardana, the national dance of Catalonia. could only have limited exposure to synthesizers, I Perhaps the most controversial part of the title is the Concerto for Cello and Nine Players The Concerto was commissioned by the Banda decided that I should take advantage of the experience word ‘Symphony’. -
Federico Mompou
cÉÇÉêáÅç=jçãéçì má~åç=jìëáÅ=J=aáëÅçîÉêáÉë j~êíáå=gçåÉë Martin Jones 24 NI 5877 NI 5877 1 Federico Mompou Also Available NI5724/7 (1893-1987) Federico Mompou The Piano Music - Volume One Martin Jones Piano Music - Volume 2 Disc Two 72.05 Dialogues Discoveries Trois Variations Souvenirs de l’Exposistion Pessebres Préludes Martin Jones Variations sur un thème de Chopin Disc Three 64.16 Canción y Danza Paisajes Disc Four 68.55 Chanson de Berceau Musica Callada Disc One 72.45 Book One 2-9 Impresiones intimas Book Two 10-17 Suburbis Book Three 18-22 Scenes d’enfants Book Four 23-29 Recorded by Nimbus Records at Wyastone Leys, Monmouth, U.K. Charmes 23 June & 31 October – 1 November 2011 Cants Mágics c © 2012 Wyastone Estate Limited 2012 Wyastone Estate Limited. Fêtes Lointaines Cover photo: istockphoto.com 2 NI 5877 NI 5877 23 Also available on Nimbus: Piano music played by Martin Jones DISC 1 1 Impressions de muntanya (1910) 3.43 Carl Czerny, The Sonatas for Solo Piano Dansa del poble Volume One, Sonatas 5, 6, 8 and 9 NI 5832/3 El repòs dins del temple [1.24] Volume Two, Sonatas 1, 2, 7 and 11 NI 5863/4 Pastoral [2.44] 2 Dues Impressions (1915/16) 2.16 Volume Three, Sonatas 3, 4 and 10 NI 5872/3 Barri de platja Enrique Granados, The Complete Published Works for Solo Piano NI 1734 Camí de muntanya [1.15] Karol Szymanowski, Complete Piano Music NI 1750 3 Impressions sobre la vida d’un miner (1914) 6.57 Primeres hores del matí Percy Grainger, ‘Dished up for piano’, Complete Piano Music NI 1767 Treballs i records [2.24] Felix Mendelssohn, Complete -
Rezensionen Für
Rezensionen für Avant-guarding Mompou aud 20.044 4022143200440 Facts & Arts Apr 16th 2020 (Michael Johnson - 2020.04.16) source: https://www.factsandarts.com/music-revie... Bringing Federico Mompou’s work bang up to date [...] she performs all the Mompou selections and six of the commissioned pieces with confidence and verve on her new CD. Full review text restrained for copyright reasons. Fundació Conservatori Liceu 15/04/2020 ( - 2020.04.15) source: https://www.conservatoriliceu.es/noticie... L’Alumni Maria Canyigueral publica el disc ‘Avant-guarding Mompou, enregistrat a l’Auditori de la Fundació Conservatori Liceu L’obra única de Frederic Mompou, interpretada amb el talent de Maria Canyigueral i el complement de músics amb una perspectiva externa, donen com a resultat una interessant versió del folklore català. Full review text restrained for copyright reasons. International Piano May/June 2020 ( - 2020.05.01) Voice of silence Misunderstood and neglected in his lifetime, the solitary Catalan composer Federico Mompou is finally being championed for his meditative miniatures. Michael Johnson reports The quiet, calming strains of the late Catalonian composer Frederico Mompou seemed so nebulous that he was not taken seriously outside of Spain during his lifetime. 'There is no discourse, no argument, no page 1 / 5 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de development in this music', says Adolf Pla, a Spanish pianist and friend of the family. 'But the international public is now beginning to undentand his profound meaning and accept him.' Pla has a point. Recently, there are signs of a global Mompou revival as pianists discover him and master his finely balanced harmonies. -
An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire Wayne Weng The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3708 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE MUTABILITY OF THE SCORE: AN EXAMINATION OF THE VALUE OF SCORE ALTERATION IN VIRTUOSIC PIANO REPERTOIRE BY WAYNE WENG A dissertation suBmitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2020 © 2020 WAYNE WENG ALL RIGHTS RESERVED ii The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire By Wayne Weng This manuscript has Been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Ursula Oppens ____________________ ____________________________ Date Chair of Examining Committee Norman Carey ____________________ ____________________________ Date Executive Officer Supervisory Committee: Scott Burnham Raymond Erickson John Musto THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire by Wayne Weng Advisor: Scott Burnham This dissertation is a defense of the value of score alteration in virtuosic piano repertoire.