DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet BIS-CD-794STEREO EEDI Totalplaying time: 78'19 LECUONA,Ernesto 1r aos-r oos; TheComplete Piano Music - Volume3 tr RapsodiaCubana (on GubanAirs)* (1955)6.a.uart<s1 8'13 for Pianoand Orchestra (arr. Tlrino) PolishNational Radio Symphony Orchestra conductedbyMichael Bartos DlruznsCusnNas Danzas Afro-Cubanas E.B.Ma*s) 14'29 g LaConga de MediaNoche z',55 tr DanzaNegra E ;...Yla Negra Bailaba! zuo L!.1 Danzade losN6nigos zzo tr DanzaLucumi zJo tr LaComparsa zvJ Siete Danzas Cubanas Tfplcas E.B.Matks) 18'57 tr Nitri,Niyo z',17 tr Mientrasyo comlamaullaba un gato 3',04 @ Burlesca 1',44 E MisTristezas 3',17 tr ElMirifraque* 2'00 tr La32 z',38 tr iC6moBaila el Mufieco! 2'06 tr lEchate pa'allfl,Mar[a!* G.B.Marks) 1',12 Vnlses oe Corucrenro Vafses Fantdsticos E.B.Marks) 26'06 @ ValsApaslonado 1',52 tr ValsRom6ntico 4',25 E ValsPo6tico 2'58 @ ValsArabesque* 1'13 @ ValsPat6tico* ?,10 E ValsMaravilloso* 2'06 tr ValsBrillante* 1',47 tr VafSdel NilO* G.B.Ma*s) 5'30 tr Gardenia* lPeer-soutnernl 2',11 MrsceluHeousWoRKs tr PorcelanaChina (Danza de Mufrecos)*(1943) (E.8.Marks) 2'12 @ Polka de los Enanos* E.B.Marks) 2'20 SorucTnlruscRtPTtoNS tr Noche de Estrellas* E.B.uarxs) 1'26 @ Yo te Quiero Siempre G.B.Marks) 2'36 ThomasTirino, piano . = WorldPremidrer Recording INSTRUMENTARIUM Grand Piano: Steinway'D', Hamburg Piano technicians: [1] Janusz Paszekr12-281Kenneth A' Farnum, Jr.; Peter Long Ernesto Lecuonawith Buster Keatonand Friends, MGMCulver City Studios,1931 From leftto right: Ernesto Lecuona, Luis Lopez, Ralael Palau, Alberto Bolel, Sol pinelli, Buster Keaton,Genero Palau, Raimondo Palau, Lorenzo palau, Feljpe palau, Felix Guerrero,Alfredo ('Boca Chula') Herndndez.Fernando Dtaz. Photo by courtesyof Felix Guetreroand Sergio Garcia,A,4atrLE studios for RCA and The composerand pianistErnesto Lecuona active in recording I was one of the most importantmusicians Columbiarecords, and made over 150 piano I fromCuba. He hadan internationalcareer rollsfor many diflerentcompanies Though a thal extendedto the UnitedStates, Canada, virtuosopianist with a big technique(especially Spain,France and all of Latinand Central n,rtedfor phenomenalleft hand),after 1932 he America.Admired by and friendlywith musiclans crrncenlratedon composingand performinghis such as Bavel and Gershwin,he was at home ownworks. perlormingat CarnegieHall one evening,and Lecuonafounded the HavanaSymphony oooositeSid Caeserand Ed Sullivanat the Crrchestra(with Gonzalo Roig), La Orquestade RoxyTheater in New YorkCity two nightslater. leLHabana, the LecuonaCuban Boys Band,and Possessinga prodigiousgift for melody,Le- served as an honorarycultural attach6 to the cuonawrole in many popularidioms which Cuban Embassyin Washington,D.C. He left tendedto overshadowhis moreserious compo- Cuba in 1960 for Tampa,Florida. While on a sitions;until recently, this may havecontributed trip to Spainintended to restoreailing health, he to the lack of scholarlyattention his con- died suddenlyat the Hotel Menceyin Santa siderableachievements merit. C;ruzde Tenerile,Canary lslands. He is buried This recording,along with othersin this in the Gate ol HeavenCemetery in Hawthorne' series,commemorates the centenaryo{ Lecuo- NI.Y na'sbirth. The seriesincludes all his extant RapsodiaCubana works {or piano, many which have never been FlapsodiaCubana, writlen in 1955, receivedits recordedor availableto the publicin any form. '^/orldpremidre with David Rendon and the ErnestoLecuona y Casadowas born in comooserat two pianos on gth october 1955. Guanabacoa,Cuba on CereriaStreet (today Lecuonare-thought the work for pianoand EstradaPalma). Although his birth certificate orchestraand an arrangemenlwas made by and Cuban passporthave 6th August 1895 for F'abloRuiz Castellanos,much of which is lrag- his date ol birth, Lecuonaalways celebrated it nrented.For this recording,Thomas Tirino has as 7th August1896. Beginning piano studies n3storedthe composer'sconceplion o{ the work with his sisterErnestina, he gave his first recital for pianoand largeorchestra. He has combined at the age o{ five.He continuedhis studies with the composer'soriginal two-piano score inlo RafaelCarreras, Antonio Saaverda and Joaquin cne part.omitting nothing. worked out a new Nin, and graduatedfrom the Conservatorio a.rrangementbased on the Castellanosversion NacionalHubert de BlanckIn Havanawith a a.ndincluded some new orchestrationand a gold medalat the age o{ sevenleen.He cameto rew percussionpart. The finaleoriginally in- New Yorkin 1916and returnedagain in 1921 tlnded for the work was neverwritten down. but when he gainedhis firstinternalional success was recordedby Lecuonaas part of another Thereafter,he maintaineda highlysuccessful work, Rapsodia Tropical.Thomas Tirino has performingcareer throughout the world,was transcnbedthis materialfrom the composer's danza. Los araritsfrom Haiti introducedthe recording,and re-insertedit intothe work. cinquillo(a melodic-rhythmicformula of synco- The pieceis essentiallya pot-pourriof some pation)to Cubain the 1gthcentury, and it per- of Cuba'sbest-known traditional melodies. meatedthis new form.A danzais traditionallyin Thoughnot usingoriginal themes, Lecuona - binary(A-B) form, the secondhalf in sharpcon- like many olher composerswho wrote music trastto the first,usually faster. In rapid2/4 time, basedon traditionalor folkloricmelodies - danced independentlyby couples,it eventually combinesthe malerialas a rhapsodyfor piano disappearedinto stylizedconcert hall place- and orchestrain a strikinglyfresh and original ment.Lecuona expanded and enrichedthe way. Dividedinto six sections,it beginswith the form,sometimes using ternary (A-B-A) torm. hauntingLa Bella Cubanaby Jos6 White.(Thjs melodyis well-knownthroughout all Latin DanzasAfro-Cubanas America,linding its way into manyreligious Composedseparately, these were compiledinto celebrations.)This is lollowedby one of the a set, Album No.3. FusingAfro-Cuban rhythm 'habaneras' most famous ever wriflen.Iu bv with Spanishmelodic line, Lecuona paints vivid EduardoSdrnchez de Fuentes.An animated portraitsof AJro-Cubanculture, recreating the introductionsets up the 1gthcentury folkloric atmosphereof the Alro-Cubanand echoing dance El Cocuyd (or El Cocoy6, which came to voiceslrom the heartof Africa.With one excep- Santiagode Cuba via Haitiansknown as 'los tion,all are in ternaryform. arar6s').Connectjng material flows into the ele- La Conga de Media Noche was composed gant folkloric dance El Zapateo Cubano. from strangesounds Lecuona heard outside his Simmeringtoward a heatedfinale, the work windowat nightin Cuba. In binarytorm, it is bursts aflame into a spicy merengue. Rising stronglyaccented and impressionistic.lts bi- scalesin pianoand orchestrasizzle in a fiery tonalitydepicts a mysticalmidnight ritual: beat- conclusron. ing congadrums in the bass,and chanting aroundthe fire heard in the treble.fhe conga DanzasCubanas riseslo a feverpitch, but dissipatesinto a phan- Lecuona'sDanzas Cubanas are probably his lom glissando. mostoriginal and importantcontribution to the Danza Negra deplctsdance steps of an solo piano Iiterature.He composed47 lor solo Afro-Cubanwoman full of much charmand piano,but sadly 15 have been lost. In these grace.The bass ostinatorequires great control, worksLecuona found a voiceall his own. whilethe mrddlefeatures octaves and wide left- fhe contradanza,brought to Cuba in the hand leaps.Ravel admired this work greatly, 18thcentury by the spanish(who took it from and intendedto utilizeit at sometime. France),gave birthto the danza.lt fuses Span- 1...Yla NegraBailabalfhis Afro-Cubanladv ish melody,African rhythms and the choreo- is fiery.and her dance is fullof energyand great graphicstructure of the Frenchballroom contra- flair.The Lisztjanpiano oclaves in the piu 'Och6si' 'Elegua' mosso sectiondepict her skill and talent in un- and (correspondingto St. believablemovements. Lazarus,Virgen de la Caridad,St. Barbara, Danzade losNefiigos.l\/embers of a secrel Virgende Regla,Virgen de Candelaria,St. religiouscult knownas Abakua.Nanigos have Peter,Virgen de las Mercedes,St. Norberl,and fear and mysticismassociated with them,and the InlantBaby Jesus ol Pragueand Atocha). in demonworship and the supernatural. Theirtraditional music took the formof laments engage 'Las Foundonly in Cuba (especiallyGuanabacoa), nrixedwith loyfulmusic to Orichas'.The 'Efik'and'Ekoi theyoriginate from the tribesol o:anzaopens with a lamentand a blues-sound- Africa(the latter lrom Calabar,Nigeria). Brilliant- ing bass.The middlebursts into the Joyof 'Oricha' ly costumedin carnivalprocessions, they com- spirits,and climaxesin accentedbass bineAfrican deities with Catholicism, known as octaves,triple lorte. 'LasOrichas':'Obandio','Obeb6','Eromina'. La Comparsa:composed in 191 2, and 'Yimiko','Okrin','OniJ6','Okand6','Yarinaoriginallyknown as Danza No.2,this became Bonda, Sontemt, Obina and Efisa (corres- the popularsong For Wantof a Slar. Depicting pondingto the Virginlvlary for the firstthree, St. a traditionalcarnival procession ('comparsa'), Lazarus,St. Barbara,Virgen de Candelaria. the drumbeating in the distanceis heardin the Virgende Regla,Virgen de la Caridad[patron- left hand.As the processionapproaches, the ess of Cuba],St. Peter,souls of purgatory.and musicgets louder, building to an overwhelming St. John).They dance the coumbia, similarto frenzy.The processionpasses and fades away the rumba.Lecuona uses elementsof this untilthe last beat of the drum can be heard. rhythm,and a diabolicalpresence can be heard Lecuona'soriginal dynamics and syncopated in
Load more

Recommended publications
  • An Approach to the Cuban Institutions That Treasure Document Heritage Related to Music
    An Approach to the Cuban Institutions that Treasure Document Heritage Related to Music CUBA Obrapía No.509 entre Bernaza y Villegas/Habana Vieja CP10100 Teléfonos: 7861-9846/7 863-0052 Email: [email protected] Lic. Yohana Ortega Hernández Musicologist Head of the Archives and Library Odilio Urfé National Museum of Music 2 The first institution in Cuba which aimed at compiling, studying and disseminating the Cuban music heritage was the Institute for the Research on Folk Music (IMIF), created in 1949 by Odilio Urfé González together with a group of outstanding musicians. In 1963 the Institute became the Seminar for Popular Music (SMP) and in 1989, the Resource and Information Center on Cuban Music Odilio Urfé. In 2002, this institution merged its collections with the collections of the National Museum of Music (MNM) (officially created on September 9, 1971). The MNM is the most important institution in the country dedicated to the conservation, study and dissemination of the Cuban music heritage. Its collections are housed in the Archives and Library Odilio Urfé. Other institutions that in Cuba treasure documents related to music are the National Library José Martí in Havana, the Elvira Cape Library in Santiago de Cuba, the Center for the Research and Development of Cuban Music (CIDMUC); the Alejandro García Caturla Museum in Remedios and the Museum of Music Rodrigo Prats in Sagua la Grande, both in Villa Clara province; the Resource and Information Center on Music Argeliers León in Pinar del Río; the Center for Information and Documentation on Music Rafael Inciarte in Guantánamo and; the Museum of Music Pablo Hernández Balaguer in Santiago de Cuba.
    [Show full text]
  • Mariana Hutchinson Siemers Werd Op Twee Februari 1986 in Havanna, Cuba, Geboren
    Palm Music Foundation ZOMERCONCERT KLASSIEKE SALONMUZIEK UIT ARGENTINIË, SPANJE, BRAZILIË, CUBA EN CURAÇAO ILJA HUANG (piano) – INGE LAURIJSSENS (viool) – ELEANNE HAALSTRA (viool) – THIJS HAALSTRA (tenor) FLORO UGARTE - JAN GERARD PALM - PABLO DE SARASATE CARLOS GUASTAVINO - HUBERT DE BLANCK - JOSÉ WHITE LAFITTE JACOBO CONRAD - RADAMES GNATTALI - RUDOLF PALM WIM STATIUS MULLER - JACOBO PALM - JOSEPH SICKMAN CORSEN Zaterdag 6 juli 2019 Paleiskerk, Paleisstraat 8, Den Haag Aanvang concert 20.00 u. Illustratie op de omslag: Book of Jacobo Palm Schilderij van Anita Laumann 2 Woord vooraf Dit concert is een initiatief van de Palm Music Foundation. De stichting heeft ten doel het bevorderen van de bekendheid van Caribische klassieke en geschreven salonmuziek. Dit doet zij door het laten digitaliseren van de handgeschreven partituren van componisten, het uitbrengen van cd’s, het geven van lezingen en het organiseren van concerten. Met dit zomerconcert wil onze stichting het muziekminnende publiek in Nederland kennis laten maken met een unieke selectie uit de rijke klassieke salonmuziek van de 19e-eeuw en het begin van de 20e-eeuw uit Latijns- Amerika en het Caribisch gebied. Diverse van deze composities zijn nooit eerder vertolkt in Nederland. Het wordt nu toch de hoogste tijd! Ilja Huang (piano), Eleanne Haalstra (viool) en Inge Laurijssens (viool) zullen werken voor viool en piano spelen van de Argentijnse componisten Floro Ugarte (1884-1975) en Carlos Guastavino (1912-2000) de “Schubert van de Pampas”. Uit Cuba spelen zij composities van José White y Lafitte (1836- 1918) en de Nederlandse-Cubaan Hubert de Blanck (1856-1932). Uit Spanje muziek van de virtuoze Pablo Sarasate (1844-1908).
    [Show full text]
  • Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.
    [Show full text]
  • Introducing Leonardo Acosta, Music and Literary Critic
    Vol. 5, No. 3, Spring 2008, 95-121 www.ncsu.edu/project/acontracorriente Introducing Leonardo Acosta, Music and Literary Critic Raúl A. Fernández University of California—Irvine Daniel Whitesell Irvine Valley College The recent awards bestowed on Leonardo Acosta, in particular Cuba’s Premio Nacional de Literatura (2006), come as no surprise to the authors of this article who have long been aware of the breadth and depth of Acosta’s essays on music and literature. To many, however, Acosta’s writing career has remained largely invisible. In part this is because Acosta’s major essays began to appear in the early 1980s when he was nearly fifty years old, a time by which most professional writers have established their careers; in part, because he had labored rather independently of any official Cuban institutions. As Acosta noted in his acceptance speech for the Premio Nacional de Literatura he had not been identified as “associated with any literary ‘group,’ or ‘revista,’ or ‘generation,’ or ‘cohort’. Neither had [he] participated in any aesthetic or ideological polemic affecting arts and letters…” His ‘invisibility” may also be in part because his writing has consisted primarily of ensayos, a genre Fernández 96 that attracts less attention from literary critics than poetry or prose narrative. Another contributing factor has been the diversity of the intellectual field Acosta defined for himself—he began as a professional musician, became a journalist, poet and short story writer for a decade, and then became a writer on music and literature. This career trajectory makes it difficult for any other single author to evaluate Acosta’s work as a whole.
    [Show full text]
  • RAMON CALZADILLA Barítono - Cuba
    Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. RAMON CALZADILLA Barítono - Cuba Nació en La Habana. Realizó estudios musicales de nivel elemental y medio en el Conservatorio Hubert de Blanck. Arturo Bovi y M aría Pisarewskaya fueron sus primeros profesores de canto. Cursó estudios de especialización en la Academia Santa Cecilia de Roma y en el Conservatorio Porumbescu de Bucarest, contando entre sus profeso­ res a Giorgio Favaretto, Rodolfo Ricci, George lonescu y M arta Joja. Se ha presentado en importantes escenarios de Canadá, Estados Uni­ dos, Costa Rica, Brasil, Bulgaria, Rumania, Hungría, RDA, Checoslova­ quia, URSS, Polonia, Mongolia, Corea, Vietnam, Suiza, Argelia, México, Ecuador, Francia, Italia, Holanda, Portugal, España y Perú . Ha obtenido numerosas distinciones entre las que se destacan: Primer Premio del Concurso Internacional Beniamino Gigli, Primer Premio del Concurso de Frascati, Premio del Jurado Concurso Cittá di Roma (Italia); Primer Premio del Concurso Internacional de Canto de Toulousse (Francia); Laureado en ópera e interpretación de canciones búlgaras en el concurso de Jóvenes Cantantes de Opera, Medalla de Oro en el Festival de Laureados Katia Popova (Bulgaria); Premio Extraordinarto de Música Española en el Concurso Francisco Viñas de España; Orden al Mérito Artístico de la República de Checoslovaquia y Orden de la Amistad del Pueblo de Vietnam. En Cuba le fueron otorgadas la Orden "Raúl Gómez García", Orden por los 15 y 20 años de labor artística, Medalla "Alejo Carpentier", Distinción Por la Cultura Nacional. Fue fundador y Jefe durante catorce años del Departamento de Canto del Instituto Superior de Arte de La Habana y en 1983 se le confirió la categoría docente de Profesor Titular.
    [Show full text]
  • HAVANA BIENNIAL Xiixiimay 22 - June 21 / Havana, Cuba 2015
    MAY 2015 HAVANA BIENNIAL XIIXIIMay 22 - June 21 / Havana, Cuba 2015 Interviews with 12 of Cuba’s very best artists VIII Jornada Cubana contra la Homofobia y la Transfobia (May 5-23, 2015) The Hemingway Marlin Fishing Tournament (May 25-30, 2015) ART: THE 12TH HAVANA BIENNIAL HAVANA GUIDE RESTAURANTS — BARS & CLUBS — ACCOMMODATION You’ve Discovering Cuba Is NOT FAR FROM Waited Long Enough... Reach With Cuba Travel Services! Call us visit our web site to learn more 800-963-CUBA (2822) www.CubaTravelServices.com Direct Flights to Cuba Ground Transportation Assistance with Authorized Activities Car Rentals Group Itineraries Visa/Passport Application Hotel Reservations VIP Services For OFAC authorized passengers only. For terms and conditions see operator-participant contract. Flights operated by American Airlines and Sun Country Airlines License number CTS#2074621 La conga irreversible de los Carpinteros TO O H P With a Passion for Cuba Cuba Absolutely is an independent platform, which seeks to showcase the best in Cuba arts & culture, life-style, sport, travel and much more... We seek to explore Cuba through the eyes of the best writers, photographers and filmmakers, both Cuban and international, who live work, travel and play in Cuba. Beautiful pictures, great videos, opinionated reviews, insightful articles and inside tips. HAVANA GUIDE The ultimate guide to Havana with detailed reviews of where to eat, drink, dance, shop, visit and play. Unique insights to the place that a gregarious, passionate and proud people call home. La Guarida Like us on Facebook for Over 100 videos including Follow us on Twitter for beautiful images, links to interviews with Cuba’s best regular updates of new interesting articles and artists, dancers, musicians, content, reviews, comments regular updates.
    [Show full text]
  • 10 21 19 Havana
    FOR IMMEDIATE RELEASE LINK TO HIGH RESOLUTION ARTIST PHOTOS Press contacts: HAVANA JAM John MacElwee - 718-518-6539, [email protected] Jim Eigo 845-986-1677, [email protected] HABANA 500: A New York Salute to a Timeless City Soldanela Rivera: (718) 518-4410 [email protected] http://www.hostos.cuny.edu/Home-Page-Content/Events/LA-HABANA-500-A-New-York-Salute HOSTOS CENTER PRESENTS HAVANA JAM An All-Star Musical Salute, led by Bassist / Violinist / Composer Yunior Terry Celebrates 500th Anniversary of the Founding of Havana Performance Featuring Yunior Terry and Son de Altura featuring David Oquendo with special guests Eddy Zervigón, Gema and Adonis González Friday, November 15, 7:30 PM October 21, 2019 (Bronx, NY) – The Hostos Center for the Arts & Culture presents Havana Jam honoring the 500th Anniversary of the Founding of Havana with bassist / violinist / composer Yunior Terry leading his septet Son de Altura featuring vocalist David Oquendo and special guests – Cuban song stylist Gema, Charanga flutist Eddy Zervigón, of Orquesta Broadway, and classical pianist Adonis González, on Friday, November 15, 7:30 PM in the Repertory Theater at Hostos Community College, 450 Grand Concourse at 149th Street in the Bronx. The concert is the closing event of “LA HABANA 500: A New York Salute to a Timeless City,” a series of events (Nov. 12 through 15), including seminars and walking tours presented by three CUNY Colleges – Hostos Community College, John Jay College of Criminal Justice, and The City College of New York— in collaboration with the School of Visual Arts. Tickets for “Havana Jam” are $25, $20 for Seniors and $5 for students and are available at www.hostoscenter.org or by calling (718) 518-4455.
    [Show full text]
  • First Critical Performing Edition of the Zarzuela Maria La O, by Ernesto Lecuona, Orchestrated by Felix Guerrero
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2015 First Critical Performing Edition of the Zarzuela Maria la O, by Ernesto Lecuona, Orchestrated by Felix Guerrero Ivan A. del Prado University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, and the Music Performance Commons Recommended Citation del Prado, Ivan A., "First Critical Performing Edition of the Zarzuela Maria la O, by Ernesto Lecuona, Orchestrated by Felix Guerrero" (2015). Dissertations. 171. https://aquila.usm.edu/dissertations/171 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FIRST CRITICAL PERFORMING EDITION OF THE ZARZUELA MARIA LA O, BY ERNESTO LECUONA, ORCHESTRATED BY FELIX GUERRERO by Ivan del Prado Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2015 ABSTRACT FIRST CRITICAL PERFORMING EDITION OF THE ZARZUELA MARIA LA O, BY ERNESTO LECUONA, ORCHESTRATED BY FELIX GUERRERO by Ivan del Prado December 2015 The First Critical Performing Edition of the Zarzuela Maria la O by Ernesto Lecuona (as orchestrated by Felix Guerrero), is the rescue of the complete score of one of the most important works by a Cuban composer. The complete but still unpublished original score to Maria la O will finally have a clear and accurate performing edition.
    [Show full text]
  • University of Oklahoma Graduate College to Cuba
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE TO CUBA AND BACK: THE ORIGIN AND EVOLUTION OF THE POLYPHONIC CHORAL HABANERA A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DAVID GÓMEZ Norman, Oklahoma 2020 TO CUBA AND BACK: THE ORIGIN AND EVOLUTION OF THE POLYPHONIC CHORAL HABANERA A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Richard Zielinski, Chair Dr. David Howard Dr. Eugene Enrico Dr. Bruce Boggs © Copyright by DAVID GÓMEZ 2020 All Rights Reserved. Acknowledgments I would like to thank my doctoral committee members for investing their time and effort in my musical growth. I hope to carry their legacy proudly in my future endeavors. I would also like to thank my family. The research in this document will honor our Spanish heritage. Finally, I would like to thank all those who supported my opportunity to study at the University of Oklahoma. Your fortitude and patience allowed me to pursue my passion. I am confident this commitment will result in a future filled with wonderful music opportunities. I am honored, blessed, and forever grateful for all of you. iv Table of Contents Acknowledgments ........................................................................................................... iv Abstract .......................................................................................................................... vii Chapter 1: Introduction ...................................................................................................
    [Show full text]
  • Latin America in Ilustración Musical Hispano-Americana
    Latin America in Ilustración Musical Hispano-Americana GILBERT CHASE's 2699-item A Guide to Latin Americat1 Musil: (Washington: Library of Congress Music Division, 1945) sold for 45ct. Seventeen years Iater A Guide to the Music o/ Lati11 America (Washington: Pan American Union and Library of Congress, 1962) contained ali the 1945 entries plus some 1084 additional items. Rcprinted a decade later by AMS Press, Inc., 56 East 13th Street, New York 10003, the facsimiled IQ62 second edition sold for $17.50 in 1975 and for $22.50 in 1980. Funding for the preparation and publication of the 1945 edition carne from the Interdepartmental Committee for Cooperation with the American Republics, Depart­ ment of State. The Martha Baird Rockefeller Aid to Music Program helped subsidize the second edition, which however made no systematic attempt to fill in gaps in the pre-1945 literature left vacant in the first edition. Charles Seeger briefly noticed the first edition in Ha11dbook of Latín American Studies: 1945 (Cambridge: Harvard University Press, 1948), page 347, item 3793. Except for Bruno Nettl's 165-word notice in Ethnomusicology, vm/l (January 1964), 86, the 1962 edition like the 1945 escaped review. So long as Chase's Guide in enher of its incamalions remains tht: one "indispensable tool to students of Latin American music, ·• justice to purchasers of this "too!" priced at S22.50 in 1980 (more tomorrow) requires a belated caveat emptor. The 1945 Guide itemized what Chase found in the Library of Congress. The 1962 additions were in turn mostly lim1ted by what periodicals Barbara Krader found in the Columbus Library of the Pan American Union.
    [Show full text]
  • Lahabana Dominoes
    CUBANÍA ISSUE the essence of all things Cuban lahabana.com LA HABANA.COM is an independent platform, which seeks to showcase the best in Cuba arts & culture, life-style, sport, travel and much more... We seek to explore Cuba through the eyes of the best writers, photographers and filmmakers, both Cuban and international, who live work, travel and play in Cuba. Beautiful pictures, great videos, opinionated reviews, insightful articles and inside tips. “El Litoral” HAVANA GUIDE The ultimate guide to Havana with detailed reviews of where to eat, drink, dance, shop, visit and play. Unique insights to the place that a gregarious, passionate and proud people call home. La Guarida Like us on Facebook for Over 100 videos including Follow us on Twitter for beautiful images, links to interviews with Cuba’s best regular updates of new interesting articles and artists, dancers, musicians, content, reviews, comments regular updates. writers and directors. and more. OUR CONTRIBUTORS We are deeply indebted to all of the writers and photographers who have shared their work with us. We welcome new contributors and would love hear from you if you have a Cuba-related project. Photo by Y. del Monte EDITORIAL So, President Obama and First Lady Michelle Obama are coming to Cuba on March 21-22 to watch baseball. At least they are scheduled to attend an exhibition match between The Tampa Bay Rays and the Cuban National Team on Tuesday March 22. On Friday, the Rolling Stones are playing the final leg of their Latin American tour in Havana at the Ciudad Deportiva.
    [Show full text]
  • Guest Artist Series:Stephanie Rea, Flute Scott Locke, Clarinet Richard Scott, Piano
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-16-2005 Guest Artist Series:Stephanie Rea, Flute Scott Locke, Clarinet Richard Scott, Piano Stephanie Rea Flute Illinois State University Scott Locke Clarinet Richard Scott Piano Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Rea, Stephanie Flute; Locke, Scott Clarinet; and Scott, Richard Piano, "Guest Artist Series:Stephanie Rea, Flute Scott Locke, Clarinet Richard Scott, Piano" (2005). School of Music Programs. 2863. https://ir.library.illinoisstate.edu/somp/2863 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ~ llinois State Llniversit_y IC-allege of Fine Arts School of Music I I I Guest Artist Series I Stephanie Kea, F/ute I Scott Locke, Clarinet I K,chard Scott, f'iano I I 'I, I I Kemp Recital Hall October 16, 2005 5unda9 E_vening 1. 7,oop.m. This is the twent9-tirst program ot the 2005-2006 season. I frogram I I Fa~sport to Music from Around the World Flease turn o!f cell phones a nd pag e rs for the duration of the concert. Tha nk You. I I rrogram Notes Hungarian composer and teacher Ferenc Farkas was born in Nagykanizsa in 1905 and died in Budapest in 2000. He began his career as a pianist, but later turned his attention to the Bihari Roman Tancok (1950) Ferenc Farkas study of composition with Weiner and Siklos at the Budapest Academy of Music from 1921 (1905-2000) I I to 1927.
    [Show full text]