Madison Symphony Orchestra Program Notes
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El Flamenco Del Siglo XIX: Entre Lo Andaluz, Lo Gitano Y Lo Clásico
Fotografía. Café cantante del Burrero (©Emilio Beauchy Cano, ca. 1880) x23 diciembre estreno El flamenco del siglo XIX: entre lo andaluz, lo gitano y lo clásico Lo que a partir de 1847 conocemos como flamenco empieza a formarse a finales del siglo XVIII como reacción a la música italiana y francesa que se imponía desde los ambientes académicos. Unas cuantas familias gitanas de la bahía de Cádiz comienzan a interpretar con entonaciones inéditas las canciones populares andaluzas, pero también españolas y transatlánticas. Esta doble vertiente gitana y andaluza se complementa con la guitarra, que se nutre a su vez de lo popular y lo clásico. Lo mismo sucede con el baile, perfecta síntesis de maneras gitanas y boleras. Desde 1865 el género encuentra gran difusión en los cafés cantantes hasta finales de la centuria, cuando se inician las grabaciones en cilindros de cera y discos de pizarra, soporte con el que el flamenco inicia una nueva etapa en el siglo xx. Estos repertorios los escucharemos en El flamenco del siglo XIX: entre lo andaluz, lo gitano y lo clásico. Cante Nuria Martín, Bonela y David Carpio Cante y guitarra Sergio Cuesta ‘El Hombrecillo’ Guitarra Chaparro de Málaga, Francisco Vinuesa y la colaboración especial de Rafael Riqueni Guitarra clásica Davinia Ballesteros Violín Pepe Molina Baile Carmen Ríos y Cristóbal García Palmas Fernando Santiago Voz en off Fran Perea Ayudante de dirección Marina Perea Dirección documental y artística Ramón Soler Díaz Producción Teatro Cervantes de Málaga Con la colaboración de Museo Carmen Thyssen Málaga I Violín y guitarra por verdiales (tradicional). Pepe Molina y Sergio Cuesta ‘El Hombrecillo’ Toná del Brujo, corrido de los Puertos y alboreás (tradicional). -
El Amor Brujo
Luis Fernando Pérez piano Basque National Orchestra Carlo Rizzi direction MANUEL DE FALLA (1876-1946) Noches en los jardines de España - Nuits dans les jardins d’Espagne 1 - En el Generalife (Au Generalife) 2 - Danza lejana (Danse lointaine) 3 - En los jardines de la Sierra de Córdoba (Dans les jardins de la Sierra de Cordoue) El sombrero de tres picos - Trois danses du Tricorne 4 - Danza de los vecinos (Danse des voisins) 5 - Danza de la molinera (Danse de la meunière) 6 - Danza del molinero (Danse du meunier) 7 - Fantasía Bética - Fantaisie bétique El amor brujo (piano suite) - L´Amour sorcier (piano suite) 8 - Pantomima (Pantomine) 9 - Danza del fuego fatuo (Chanson du feu follet) 10 - Danza del terror (Danse de la terreur) 11 - El Círculo magico (Le cercle magique) 12 - Danza ritual del fuego (Danse du feu) Enregistrement réalisé les 11 et 12 avril 2013 à l’Auditorium de Bordeaux (plages 1 à 3) et du 15 au 17 juin 2013 à la Aula de Música de Alcalá de Henares (plages 4 à 12) / Direction artistique, prise de son et montage : Jiri Heger (plages 1 à 3) et José Miguel Martínez (plages 4 à 12) / Piano : Steinway D (plages 1 à 3) et Yamaha (plages 4 à 12) Accordeur : Gérard Fauvin (plages 1 à 3) et Leonardo Pizzollante (plages 4 à 12) / Conception et suivi artistique : René Martin, François-René Martin et Christian Meyrignac / Photos : Marine de Lafregeyre / Design : Jean-Michel Bouchet - LM Portfolio / Réalisation digipack : saga.illico / Fabriqué par Sony DADC Austria. / & © 2014 MIRARE, MIR 219 www.mirare.fr TRACKS 2 PLAGES CD MANUEL DE FALLA Nuits dans les jardins d’Espagne manière traditionnelle du concerto classico-romantique pour piano et orchestre. -
DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo. -
Leopold Stokowski, "Latin" Music, and Pan Americanism
Leopold Stokowski, "Latin" Music, and Pan Americanism Carol A. Hess C oNDUCTOR LEOPOLD Stokowski ( 1882-1977), "the rum and coca-cola school of Latin American whose career bridged the circumspect world of clas composers," neatly conflating the 1944 Andrews Sis sical music with HolJywood glitz. encounterecl in ters song with "serious" Latin American composition. 2 varying clegrecs both of these realms in an often Such elasticity fit Stokowski to a tcc. On thc one overlooked aspcct of his career: promoting the music hand, with his genius for bringing the classics to of Latín American and Spanish composers, primaril y the mass public, Stokowski was used to serving up those of the twentieth century. In the U.S .. Stokow ''light classics," as can be scen in hi s movies, which ski's adopted country. this repertory was often con include Wah Disney's Famasia of 1940 and One veniently labeled '·Latín." due as much to lack of Htmdred Men anda Girl of 1937. On the other hand. subtlety on thc part of marketcrs as thc less-than the superbly trained artist in Stokowski was both an nuanccd perspective of the public. which has often experimentcr and a promoter of new music. A self resisted dífferentiatíng the Spanish-speaking coun described "egocentric"-he later declared. " I always tries.1 In acldition to concert repertory, "Latin'' music want to he first"-Stokowski was always on the might include Spanish-language popular songs, lookout for novelty.3 This might in volve transcribing English-language songs on Spanish or Latín Ameri Bach for an orchestra undreamt of in the eighteenth can topics, or practically any work that incorporated century or premiering works as varied as Pierrot claves, güiro, or Phrygian melodic turns. -
Montserrat Caballé En El Teatro De La Zarzuela
MONTSERRAT CABALLÉ EN EL Comedia musical en dos actos TEATRO DE LA ZARZUELA Victor Pagán Estrenada en el Teatro Bretón de los Herreros de Logroño, el 12 de junio de 1947, y en el Teatro Albéniz de Madrid, el 30 de septiembre de 1947 Teatro de la Zarzuela Con la colaboración de ontserrat Caballé M en el Teatro de la Zarzuela1 1964-1992 1964 1967 ANTOLOGÍA DE LA TONADILLA Y LA VIDA BREVE LA TRAVIATA primera temporada oficial de ballet y teatro lírico iv festival de la ópera de madrid 19, 20, 21, 22, 24 de noviembre de 1964 4 de mayo de 1967 Guión de Alfredo Mañas y versión musical de Cristóbal Halffter Música de Giuseppe Verdi Libreto de Francesco Maria Piave, basado en Alexandre Dumas, hijo compañía de género lírico Montserrat Caballé (Violetta Valery) La consulta y La maja limonera (selección) Aldo Bottion (Alfredo Germont), Manuel Ausensi (Giorgio Germont), Textos y música de Fernando Ferrandiere y Pedro Aranaz Ana María Eguizabal (Flora Bervoix), María Santi (Annina), Enrique Suárez (Gastone), Juan Rico (Douphol), Antonio Lagar (Marquese D’Obigny), Silvano Pagliuga (Dottore Grenvil) Mari Carmen Ramírez (soprano), María Trivó (soprano) Ballet de Aurora Pons Coro de la Radiotelevisión Española La vida breve Orquesta Sinfónica Municipal de Valencia Música de Manuel de Falla Dirección musical Carlo Felice Cillario, Alberto Leone Libreto de Carlos Fernández Shaw Dirección de escena José Osuna Alberto Lorca Escenografía Umberto Zimelli, Ercole Sormani Vestuario Cornejo Montserrat Caballé (Salud) Coreografía Aurora Pons Inés Rivadeneira (Abuela), -
Don Carlo Cambió Mi Vida” Por Ingrid Haas
www.proopera.org.mx • año XXV • número 2 • marzo – abril 2017 • sesenta pesos CONCIERTOS Elīna Garanča en México ENTREVISTAS Dhyana Arom Jorge Cózatl Ricardo López Constantine Orbelian Arturo Rodríguez Torres Carlos Serrano Diego Silva Ramón Vargas ENTREVISTAS EN LÍNEA Markus Hinterhäuser Grigory Soloviev FerruccioFerruccio FurlanettoFurlanetto “Don Carlo “Don Carlo cambiócambió mimi vida”vida”pro opera¾ EN BREVE por Charles H. Oppenheim La Orquesta Filarmónica del Desierto en Bellas Artes Por vez primera desde su formación en 2014, la Orquesta Filarmónica del Desierto, con sede en Saltillo, Coahuila, ofreció un concierto el pasado 28 de enero en la sala principal del Palacio de Bellas Artes, dirigida por su titular, el maestro Natanael Espinoza. La orquesta interpretó la obertura de la ópera Rienzi de Richard Wagner, Tangata de agosto de Máximo Diego Pujol y la Sinfonía número 5 en Mi menor, op. 64 de Piotr Ilich Chaikovski. La tercera generación del Estudio de Ópera de Bellas Artes Foto: Ana Lourdes Herrera Concierto del EOBA en memoria de Rafael Tovar y de Teresa El último recital de la tercera generación del Estudio de Ópera de Bellas Artes (EOBA) se dedicó a la memoria del recién fallecido titular de la Secretaría de Cultura, Rafael Tovar y de Teresa, quien le dio un fuerte impulso a la agrupación creada apenas en 2014. En el recital participaron las sopranos Rosario Aguilar, María Caballero y Lorena Flores, las mezzosopranos Vanessa Jara e Isabel Stüber, los tenores Enrique Guzmán y Ángel Macías, el barítono Carlos López, el bajo-barítono Rodrigo Urrutia y el bajo Carlos Santos, acompañados por los pianistas Edgar Ibarra y Alain del Real. -
Spanish Local Color in Bizet's Carmen.Pdf
!@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens. -
Manuel De Falla' S Siete Canciones Populares Españolas: the Composer's Personal Library, Folksong Models and the Creative Process.'
Anuario Musical, vol. 55 (2000) MANUEL DE FALLA' S SIETE CANCIONES POPULARES ESPAÑOLAS: THE COMPOSER'S PERSONAL LIBRARY, FOLKSONG MODELS AND THE CREATIVE PROCESS.' Michael CHRISTOFORIDIS Abstract Manuel de Falla's personal library provides a unique resource for the study of the composer's assimilation of ideas, and his lifelong habit of annotating his reading material and scores heightens the library's usefulness to an understanding of his creative process. Falla's reliance on musical borrowings in his compositions means that a study of the printed scores in his library often gives insights into the sources employed and the development of his musical ideas. The limited extent of Falla's field work in the realm of folk music makes this source even more valuable to discussions of folk-inspired works such as the Siete canciones populares españolas. The provenance of the melodies employed by Falla in that work has been the subject of articles by Manuel Garcia Matos and Josep Crivillé i Bargalló. While indebted to their research, this study argues that in the Siete canciones populares españolas all of Falla's melodic lines and some of the accompaniments are based, to varying degrees, on the assimilation of materials taken from specific publications in his possession. Falla's exposure to and incorporation of folk music in his scores is also examined, and the Siete canciones populares españolas are situated within the creative context of Falla's Parisian milieu. Finally, similarities are drawn between Falla's use of folk sources and the process through which early music was incorporated into his neoclassical scores of the 1920s. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
Copy of White and Yellow Violin Music Invitation Poster
D E K A L B Y O U T H S Y M P H O N Y O R C H E S T R A COME HEAR THE FUTURE T U E S D A Y M A Y 2 5 , 2 0 2 1 7 P M 5 4 T H S E A S O N D E K A L B Y O U T H S Y M H O N Y . C O M 54th season DYSO 2020-2021 From the Artistic Director Dear DYSO patron, Normally, when we look back at the past, we try to romanticize it with stories of exciting adventures and larger-than-life characters. The further back you go into the past, the more colorful the stories become. Until eventually, we turn our past into legends. Unlike the myths and legends of old, our reality over the past year has been anything but a romanticized adventure. Nearly every aspect of our lives has been recast in new and challenging contexts, transforming everyday experiences and tasks from simple and ordinary to difficult and extraordinary. This year has shown us the importance of persevering during difficult times and making a positive impact where we can and when we can. The way I see it, becoming a legend is not only reserved for mythological characters or figures of folklore. I have watched in awe, as a group of young musicians have become modern day legends by making a positive impact moment by moment, note by note. All in one night! Thank you for being with us to help create this modern day legend! PhilipBarnard Philip Barnard, Artistic Director Dekalb Youth Symphony Orchestra P.S. -
Nyco Renaissance
NYCO RENAISSANCE JANUARY 10, 2014 Table of Contents: 1. Executive Summary ...................................................................................................................... 2 2. History .......................................................................................................................................... 4 3. Core Values .................................................................................................................................. 5 4. The Operatic Landscape (NY and National) .............................................................................. 8 5. Opportunities .............................................................................................................................. 11 6. Threats ......................................................................................................................................... 13 7. Action Plan – Year 0 (February to August 2014) ......................................................................... 14 8. Action Plan – Year 1 (September 2014 to August 2015) ............................................................... 15 9. Artistic Philosophy ...................................................................................................................... 18 10. Professional Staff, Partners, Facilities and Operations ............................................................. 20 11. Governance and Board of Directors ......................................................................................... -
Ibla Foundation Home Page 3/8/10 10:09 PM
Ibla Foundation Home Page 3/8/10 10:09 PM The stormy, fresh, accelerated-tempo character which is supported by many sforzati and dynamical contrasts has to be emphasised. The return of the third movement’s primary theme and tempo (bar 256) make the quasi una fantasia clear. Here, Beethoven writes Tempo I - at this point, he means the Tempo I of the third, not the 4th movement. Once again, this indication shows Beethoven’s concept of an entire fantasia- sonata without separation in the movements. back to top Nancy Lee Harper, pianist, PORTUGAL "The Interpretation of Manuel de Falla's Fantasia baetica" INTERPRETING MANUEL DE FALLA'S FANTASÍA BÆTICA: An Introduction and Masterclass By Nancy Lee Harper ©2004 INTRODUCTION In this day and age of pianistic pyrotechnics, Falla's chef d'œuvre still remains as illusive and daunting today as it was 75 years ago when it was commissioned by and dedicated to the great Polish pianist, Artur Rubinstein. Shrouded in bad luck, Rubinstein was unable to learn the piece in time for his Barcelona concerts in 1919, giving the premiere later in New York on 20 February 1920. The work was destined neither to have the impact nor become the mainstay of his repertoire as other works in his repertoire. Rubinstein played the Fantasy a handful of times, abandoning it, complaining that it was too long, too difficult, had too many glissandi, too many guitar and flamenco figures, etc.. If the truth were known, Rubinstein probably did not have the same audience success as with his version of Falla's earlier work, the "Ritual Fire Dance".