DOCSLIB.ORG

Proyecto De Tesis Concierto Comentado Con Obras De Carlos Guastavino

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proyecto De Tesis Concierto Comentado Con Obras De Carlos Guastavino UNIVERSIDAD NACIONAL DE LA PLATA FACULTAD DE ARTES DEPARTAMENTO DE MÚSICA CARRERA: LICENCIATURA EN MÚSICA CON ORIENTACIÓN EN PIANO PROYECTO DE TESIS CONCIERTO COMENTADO CON OBRAS DE CARLOS GUASTAVINO PARA PIANO DIRECTOR: LIC. PABLO BUCHER CODIRECTORA: LIC. NATALIA GONZÁLEZ FIGUEROA ALUMNA: ANA ELIZABETH KÄLLSTEN LEGAJO: 56618/2 DNI: 34.678.499 E-MAIL: [email protected] AÑO 2020 Síntesis Este trabajo de graduación de la carrera Licenciatura en Música Orientación Piano - Diseño Programático 2 de la Universidad Nacional de La Plata, Facultad de Artes, Departamento de Música, consiste en la presentación de un concierto comentado con obras para piano solista del compositor y pianista argentino Carlos Guastavino. La elección del repertorio de concierto se configura específicamente en base a tres lineamientos: 1) el lenguaje músical de Guastavino sustentado en la música europea y en el folclore argentino, razón por la cual sus ideas confluyen en una estructuración académico – popular; 2) las obras se incluyen en una contextualización socio-cultural diversa, manteniéndose hasta la actualidad como condición paradigmática de identificación en públicos y colectivos diferentes; 3) el repertorio mencionado está constituido por piezas de dos ciclos didácticos, el ciclo “Cantos Populares” y el ciclo “Diez Cantilenas Argentinas”. El resultado final, en tanto concierto de tesis comentado, viene a proponer entre sus objetivos presentar el conjunto de recursos y saberes técnico interpretativos asimilado en estos años de carrera. 2 ÍNDICE Introducción………………………………………………………………………………pág. 4 Desarrollo: (pág. 5) - Datos biográficos del compositor………………………………………………..………..pág. 5 - Datos preliminares …………………………………………………………………...…....pág. 7 - Breves descripciones de cada pieza del repertorio de concierto……………………..….pág. 8 - La elección de obras que componen este repertorio. Fundamentación..……………...pág. 15 Conclusión….………………….……………………………………………..…………..pág. 16 Bibliografía …………………………………………………………………....…………pág. 17 Lista de Material Anexo ………………………........…………………………pág 18 3 Introducción Con motivo de la finalización de la carrera Licenciatura en Música con Orientación Piano Diseño Programático 2, mi trabajo de graduación consiste en la presentación de un concierto comentado de obras solistas para piano del compositor y pianista argentino Carlos Guastavino (1912 – 2000). Las obras que constituyen el repertorio del concierto de graduación pertenecen a dos ciclos musicales de Carlos Guastavino: el ciclo “Cantos Populares” y el ciclo “Diez Cantilenas Argentinas”. Primeramente se presentarán los diez cantos populares y luego una selección de cantilenas: Santa Fé para llorar; Jacarandá y Trébol (Cantilenas 1, 3 y 9 respectivamente). El repertorio elegido para la realización de este concierto reúne características discursivo-musicales provenientes tanto de la música académica europea como del folclore y la música popular argentina. También es relevante la influencia de la música folclórica y popular española. Debido a causas principalmente contextuales de índole social e histórica, la producción musical de Guastavino superó la dicotomía u oposición entre lo académico y lo popular1. Ello hace que el conjunto de las composiciones pertenecientes a este concierto se constituya en representativo y en síntesis de la música abordada en esta carrera en su Diseño Programático 2. Además, gran parte de las piezas que lo integran como las del ciclo Cantos Populares fueron escritas con fines didácticos (Mansilla, 2011). Pese a que cada una de ellas tiene una extensión relativamente corta no por ello deja de poseer una impronta musical propia y particular. Su interpretación, en pos del logro de cada sonoridad, implica la utilización y dominio de muy variados recursos técnico-pianísticos aprendidos a lo largo de esta carrera. Las obras incluidas en este repertorio que no pertenecen a la categoría de didácticas (las Cantilenas Argentinas) también son relativamente breves. 1 Mansilla, S. 2011. La obra musical de Guastavino. Circulación, recepción, mediaciones. Gourmet Musical. 4 Desarrollo Datos biográficos del compositor Carlos Guastavino, compositor y pianista argentino nació en la ciudad capital de la provincia de Santa Fe en 1912. Creció en el seno de una familia proveniente de Italia aficionada a la música y comenzó a recibir formación pianística a los cuatro años, en un período corto de tiempo, puesto que su maestra de piano se trasladó a Buenos Aires. Sin embargo, recibió asesoramiento musical de parte de familiares, también con conocimientos de piano. Luego ingresó al coro de la escuela “Inmaculada Concepción” (cursó la escuela primaria entre los años 1918 y 1924), y al exhibir sus improvisaciones en órgano, acompañó celebraciones dominicales en reemplazo del director del coro. Así aprendió y perfeccionó su conocimiento del órgano. Según él mismo expresara2, aprehendió la música popular rural argentina, en especial cielitos y tristes (o lo que entonces se entendía por tales denominaciones en esa región de Argentina) de escucharla cantada y ejecutada en clarinete por un tío, campesino oriundo de la provincia de Buenos Aires. Aun siendo anciano, Guastavino recordaba en sus conversaciones esas melodías con inmensa devoción. En 1927 egresó del conservatorio santafecino. En 1929 concluyó el nivel secundario en el mismo colegio “La inmaculada”. Al año siguiente ingresó en la carrera de Ingeniería Química en la UNL. Paralelamente continuó con la práctica del piano, realizando audiciones públicas con frecuencia en varias localidades de la provincia de Santa Fe y también en Paraná, Entre Ríos. Gracias a una beca del Ministerio de Instrucción Pública y Fomento de la Provincia de Santa Fe para perfeccionar sus conocimientos, en 1938 se trasladó a Buenos Aires con el fin de estudiar composición en el Conservatorio Nacional de Música y Arte Escénico. Entonces se reencontró con su maestra de piano, quien tenía una cátedra de perfeccionamiento pianístico en dicho conservatorio. Esto último le permitió participar en las clases de ella como invitado y sumarse a las audiciones y conciertos. En 1939 y 1940 perfeccionó sus estudios de armonía, contrapunto y orquestación en el estudio privado de Athos Palma. En 1939 recibe premios y reconocimientos a nivel municipal, nacional y luego internacional. 2 Entrevista a Carlos Guastavino por Víctor Villadangos ( https://www.youtube.com/watch?v=tQVZHIXP9ss ) 5 De la relación de Guastavino con la cultura española En la obra de Guastavino, a modo de influencias compositivas variadas, se han dado cita diversos elementos de la cultura española. Esto se debe a que, por un lado, Guastavino desde sus comienzos se mostró como un músico con profunda empatía por la poesía. Así, del mismo modo que musicalizó quince poemas de la poetisa chilena Gabriela Mistral, también eligió para musicalizar poemas de algunos poetas españoles del grupo de la Generación del 27 y otros escritores exiliados de España que habían publicado su obra en Argentina. Mantuvo una relación de amistad con el compositor español Manuel de Falla, quien arribó a Argentina en Octubre de 1939. Guastavino tenía gran admiración por la música de Falla y le enviaba y mostraba sus composiciones musicales. A nivel del lenguaje musical empleado por Guastavino en algunas obras escritas en esos años, se observan algunas correspondencias que permiten rastrear allí procesos de recepción del estilo de Falla y del neoclasicismo musical europeo. Sus obras más definidamente “modernistas” en este sentido son Sonetos del Ruiseñor, Las nubes y la Sonatina en Sol Menor. Entre 1942 y 1959, Guastavino se dedicó principalmente a componer y dar a conocer como pianista su propia obra, viajando solo o con diversos/as cantantes y pianistas que colaboraron en dicha difusión. En Marzo de 1959 ingresó como profesor de Armonía en el Conservatorio Nacional de Música “Carlos López Buchardo”. A partir de allí, su actividad continuó en paralelo en varios ámbitos - actuaciones públicas, composición y docencia especializada- hasta aproximadamente 1973, año en el que, debido a varias causas (entre ellas, la posterior persecución del terrorismo de Estado desde 1976 que llevó a Guastavino a retraerse y “silenciarse” en su producción), mermó su actividad compositiva. Volvió a componer algunas obras por encargo a fines de los 80 y principios de 1990. De la relación de Guastavino con la canción de raíz folclórica argentina Guastavino apareció en el mundo del folclore en 1961, con una presentación pública en un festival; en 1963 fue invitado por Rómulo Lagos, el editor que reunía a los artistas del auge folclórico en su oficina de la editorial, que pasó a ser el espacio físico donde se concibieron muchas de las obras del movimiento del Nuevo Cancionero. Durante la década de 1960 y la primera mitad del 70, Guastavino musicalizó poesías de varios autores pertenecientes al mismo movimiento, generando un nutrido repertorio en el ámbito de la canción popular. También comenzó una relación de amistad 6 con Atahualpa Yupanqui y Eduardo Falú. Con este último profundizó su aprendizaje acerca del lenguaje musical de algunos estilos típicos especialmente la zamba. Produjo en esos tiempos una música nacionalista original, fusionando características académicas con características de la música popular. Muchas de sus obras fueron interpretadas por Falú, también por artistas como Mercedes Sosa, quien estrenó y difundió su canción Hermano con letra de Hamlet Lima Quintana y grabada en un disco homónimo. Algunas de las musicalizaciones de poemas del
Load more

Recommended publications
  • January 20, 2008 2655Th Concert
    For the convenience of concertgoers the Garden Cafe remains open until 6:oo pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-sixth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts National Gallery of Art 2,655th Concert Music Department National Gallery of Art Jeni Slotchiver, pianist Sixth Street and Constitution Avenue nw Washington, DC Mailing address 2000b South Club Drive January 20, 2008 Landover, md 20785 Sunday Evening, 6:30 pm West Building, West Garden Court www.nga.gov Admission free Program Heitor Villa-Lobos (1887-1959) Bachianas brasileiras no. 4 (1930-1941) Preludio (Introdu^ao) (Prelude: Introduction) Coral (Canto do sertao) (Chorale: Song of the Jungle) Aria (Cantiga) (Aria: Song) Dansa (Miudinho) (Dance: Samba Step) Francisco Mignone (1897-1986) Sonatina no. 4 (1949) Allegretto Allegro con umore Carlos Guastavino (1912-2000) Las Ninas (The Girls) (1951) Bailecito (Dance) (1941) Gato (Cat) (1940) Camargo Guarnieri (1907-1993) Dansa negra (1948) Frutuoso de Lima Viana (1896-1976) Coiia-Jaca (Brazilian Folk Dance) (1932) INTERMISSION Ferruccio Busoni (1866-1924) The Musician Indian Diary: Book One (Four Studies on Motifs of the Native American Indians) (1915) Pianist Jeni Slotchiver began her formal musical studies at an early age. A He-Hea Katzina Song (Hopi) recipient of several scholarships, she attended the Interlochen Arts Academy Song of Victory (Cheyenne) and the Aspen Music Festival, before earning her bachelor and master of Blue Bird Song (Pima) and Corn-Grinding Song (Lagunas) music degrees in piano performance at Indiana University.
    [Show full text]
  • The Learned Style in Argentine Music: Topic Simultaneity and Rhetorics of Identity in the Work of Carlos Guastavino
    nova série | new series 4/1 (2017), pp. 121-140 ISSN 2183-8410 http://rpm-ns.pt The Learned Style in Argentine Music: Topic Simultaneity and Rhetorics of Identity in the Work of Carlos Guastavino Melanie Plesch The University of Melbourne [email protected] Resumo Este artigo analisa a interacção entre tópicos europeus e argentinos vernáculos em duas obras de Carlos Guastavino: ‘Un domingo de mañana’ (Um domingo de manhã), fuga a três vozes que integra os Diez preludios para piano (1952) e combina o estilo erudito com o tópico da canção infantil; e o quarto andamento – ‘Fuga y final’ – da Sonata para piano em dó sustenido menor (1946), cujo tema do sujeito utiliza o tópico da canção e dança popular da América do Sul denominada cueca. O estilo erudito não está presente apenas através do processo de composição da fuga, mas também pelo uso de um subtópico específico, sucintamente abordado neste texto, que estabelece a ligação entre estas obras e a tradição organística barroca e respectiva recepção na música para piano do século XIX. Em oposição à perspectiva essencialista que tem privilegiado a identificação dos designados “idiomas folclóricos” nos estudos da arte musical latino-americana, este artigo pretende realçar o facto de os tópicos europeus serem tão importantes como os tópicos vernáculos na construção da retórica musical da identidade argentina. Palavras-chave Estilo erudito; Guastavino; Teoria dos tópicos; Tropificação; Alegoria da escuta. Abstract This article examines the interplay of European and Argentine vernacular topics in two works by Carlos Guastavino: ‘Un domingo de mañana’ (A Sunday Morning), a three-part fugue from his Diez preludios for piano (1952) that combines the learned style with the topic of the children’s song, and the fourth movement—‘Fuga y final’—of his Sonata for piano in C sharp minor (1946), whose subject uses the topic of a South American folk dance and song called cueca.
    [Show full text]
  • José Cura My Homeland’S Songs José Cura
    José Cura My Homeland’s Songs José Cura Introductory words There is a popular belief in Argentina which quotes Artur Rubinstein —when he was supposedly speaking in a conference in Buenos Aires decades ago— stating that Carlos Guastavino was Argentina’s Schubert, which is taken as saying that Argenti- na’s best songwriter is “every bit as good as Schubert”. However much research I did on the subject throughout my career I could never confirm whether Rubinstein did in fact say those words. However, when I performed the first recital of Guastavino’s songs in Vienna, many years ago, I purposely evoked Rubinstein’s alleged words of praise towards the composer, but with a slightly tongue-in-cheek twist on them… So there I was, on the stage of Vienna’s Concerthaus, proclaiming that “Schubert was Austria’s Guastavino”… Imagine the faces of the audience! But the idea was not to insult any national sensibility, let alone to be disrespectful to Schubert —whom I love as any sane musician does— instead it was to provoque the audience’s curiosity, so that they would really draw their attention to the music we were about to perform, and perhaps actively try to find some truth in the challenge presented by my reverse quotation. “My Homeland’s Songs” is about these intel- lectually refined, yet sweet or harsh, sad or humorous, sometimes melancholic but always touching songs. My aim is to bring them to as many stages as possible, this being a format rather fitting now that live music is so desperately needed, but the constraints imposed by the pandemic are so taxing that they force us to reduce the number of souls present on stage.
    [Show full text]
  • Ana Catalina Ramírez Castillo, Clarinet with Dr
    Ana Catalina Ramírez Castillo, clarinet with Dr. Stephen Sachs, piano assisted by Maricel Mendez Salaza, viola Tuesday, May 19, 2008 7:00 p.m. University of Costa Rica Room 107 PROGRAM The Latin American Clarinet from Mexico to Argentina Etude No. 3 for Solo Clarinet Astor Piazzolla Ludwig van Beethoven (1921-1992) Ana Catalina Ramírez, clarinet Zarabandeo for Clarinet and Piano (1995) Arturo Marquez (b. 1950) Ana Catalina Ramírez, clarinet; Dr. Stephen Sachs, piano Sonata de la Soledad for Clarinet, Viola, and Piano (2008) Luciano Eliécer Brenes Aguilar (World Première) (b. 1979) I. La Sombra del Pasado (Allegreto) II. Decepción, ira y despecho (Adagio – Allegro furioso) Ana Catalina Ramírez, clarinet; Maricel Méndez Salaza, viola; Dr. Stephen Sachs, piano INTERMISSION Sonata No. 1 Alberto Ginastera Ruvido ed ostinato (1916-1983) Cinco Danzas Cubanas José Maria Vitier Festiva (b. 1954) Dr. Stephen Sachs, piano Valses Venezolano Antonio Lauro/arr. Paquito D’Rivera Tatiana (1917-1986)/(b. 1948) Andreina Natalia Ana Catalina Ramírez, clarinet Sonata for Clarinet and Piano (1970) Carlos Guastavino I. Allegro deciso (1912-2000) II. Andante III. Rondo – Allegro spiritoso Ana Catalina Ramírez, clarinet and Dr. Stephen Sachs, piano Belhaven College Music Faculty Artist Bios: Ana Catalina Ramírez Castrillo, principal clarinetist of the Mississippi Symphony Orchestra and Adjunct Faculty, Clarinet, is known for her versatility as a soloist, chamber and orchestral musician. As a soloist, Ms. Ramírez has performed solo recitals in Costa Rica, USA and Venezuela, where she has performed as a guest artist since 2004. She is twice winner of the Costa Rica Young Soloist Competition, winner of the Longy School of Music Honors Competition, and a semifinalist of the Young Artist Competition of the International Clarinet Association.
    [Show full text]
  • California State University, Northridge
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Concerto and Recital Works by Bach, Haydn, Grieg, Guastavino, and Domine A graduate project submitted in partial fulfillment of the requirements for the degree of Master of Music in Music, Performance by Joanna Ezrin-Schauer May 2017 The graduate project of Joanna Ezrin-Schauer is approved: _____________________________________________ ______________ Dr. Pei-Shan Lee Date _____________________________________________ ______________ Dr. Gayle Kowalchyk Date _____________________________________________ ______________ Dr. Dmitry Rachmanov, Chair Date California State University, Northridge ii Dedication In loving memory of Dr. Calvin Ezrin, Geraldine Ezrin, and Michael K. Burke iii Acknowledgement Thank you to Dr. Dmitry Rachmanov, Dr. Gayle Kowalchyk, Dr. E. L. Lancaster, Dr. Pei-Shan Lee, Professor Edward Francis, and Professor James Domine for your guidance, wisdom, and encouragement. Thank you to my family-Terry, Rebecca, Daniel, Robert Ezrin, Arlene Sarner, and Michael K. Burke, whose support made this possible. iv Table of Contents Signature Page ii Dedication iii Acknowledgement iv Abstract vi Section 1: Fantasia and Fugue in A Minor BWV 944 by J.S. Bach 1 Section 2: Piano Sonata in E-flat Major Hob. XVI/52, L. 62 by Franz Josef Haydn 3 Section 3: Las Niñas by Carlos Guastavino 6 Section 4: Sonata in A Minor for Cello and Piano by Edvard Grieg 10 Section 5: Piano Concerto #3 in A Minor by James Domine 14 Bibliography 18 Appendix A: Program I (Concerto) 20 Appendix B: Program II (Solo Recital) 21 v Abstract CONCERTO AND RECITAL WORKS BY BACH, HAYDN, GRIEG, GUASTAVINO, and DOMINE By Joanna Ezrin-Schauer Master of Music in Music, Performance In this paper, I analyzed and discussed the works that I performed on my Masters Degree solo recital and concerto concert.
    [Show full text]
  • The Complete Recitalist May 25- June 24, 2019
    ROSEMARY RITTER Director THE COMPLETE RECITALIST MAY 25- JUNE 24, 2019 “Bright is the ring of words when the right man rings them.” –Robert Lewis Stevenson SongFest 2019 is lovingly dedicated to Janet Loranger and John Ritter. ©Jeanine Hill Photography “Tell me, what is it you plan to do with your one wild and precious life?” –Mary Oliver Welcome to SongFest 2019 “Whatever you can do, or dream you can do, you can. Boldness has a genius, magic and power to it.” – Goethe ©Jeanine Hill Photography Our SONGFEST mission, under the all-encompassing Californian skies, is to bring together the old and new where the study of masterpieces from the past enhances the vitality and relevance of contemporary music. Many of the singers and pianists have come here because they already sense that art song has brought depth and refinement to their lives, both as musicians and human beings. Younger performers at Colburn find themselves crossing a summer threshold that will lead to lifelong fealty. Teachers and students share a devotion to a genre that is too easily labelled “elitist” or simply “boring”. These golden weeks, shining with youthful energy, purpose and enthusiasm, demonstrate that art song is impossible to belittle or dismiss – old hands inspired by fresh and questing talent pass on a tradition rich in the articulation of many of civilisation’s most precious values. If art can make men see things in a different way, one should never underestimate the power of great poetry from many countries in tandem with great music to touch a hitherto unresponsive heart and make a difference.
    [Show full text]
  • Jake Heggie – Songfest 2011 Distinguished Faculty Jake Heggie – Composer-In-Residence
    PEPPERDINE UNIVERSITY PRESENTS ROSEMARY HYLER RITTER Director MELANIE EMELIO Director, Apprentice Program in Malibu California “Bright is the ring of words when the right man rings them.” – Robert Lewis Stevenson THE COMPLETE RECITALIST JUNE – 1-27, 2011 The Stern Program for Singers and Pianists has generously been funded by The Marc and Eva Stern Foundation. We gratefully acknowledge and thank the Stern family! Welcome to SongFest 2011 “Whatever you can do, or dream you can do, you can. Boldness has a genius, magic and power to it.” – Goethe SongFest 2011 is supported by grants from The Marc and Eva Stern Foundation, The Aaron Copland Fund for Music, The Louise K. Smith Family Foundation and the generosity of many individuals. Photos by Ron Hall Photography ©2010 SongFest is a 501(c)3 non profit corporation. All donations are 100% tax-deductible to the full extent permitted by law. JAKE HEGGIE – SONGFEST 2011 DISTINGUISHED FACULTY JAKE HEGGIE – COMPOSER-IN-RESIDENCE SongFest 2011 • Pepperdine University • Biography Jake Heggie Composer, Pianist JAKE HEGGIE is the Jake Heggie’s operas have been performed to American composer of tremendous acclaim internationally in Australia, the operas Moby-Dick Canada, Denmark, Germany, Sweden, Ireland, Austria, (libretto: Gene Scheer), South Africa and by more than a dozen American opera Dead Man Walking companies. The composer’s numerous songs and cycles, (libretto: Terrence including The Deepest Desire, Statuesque, Here & Gone, McNally), Three Rise & Fall, Songs & Sonnets to Ophelia, Facing Decembers
    [Show full text]
  • The Complete Recitalist June 3-28, 2012
    THE COLBURN SCHOOL PRESENTS ROSEMARY HYLER RITTER Founder/Artistic Director LINDA McALISTER Executive Director “Bright is the ring of words when the right man rings them.” – Robert Lewis Stevenson THE COMPLETE RECITALIST JUNE 3-28, 2012 !e Stern Program for Singers and Pianists has generously been funded by !e Marc and Eva Stern Foundation. We gratefully acknowledge and thank the Stern family! Welcome to SongFest 2012 “Whatever you can do, or dream you can do, you can. Boldness has a genius, magic and power to it.” – Goethe SongFest is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, !e Marc and Eva Stern Foundation, !e Colburn School, !e Sorel Organization, !e Bertha and John Garabedian Charitable Foundation, !e Ann and Gordon Getty Foundation, the Aaron Copland Fund for Music, ArtsWave, and the generosity of many individual contributors. SongFest is a 501(c)3 non profit corporation. All donations 1are 100% tax-deductible to the full extent permitted by law. SongFest 2012 | The Colburn School | Distinguished SongFest Alumni Tomasz Lis Piano One of the most talented In 2006 Mr. Lis has devised a recital series for St. Giles collaborative pianists of Cripplegate Church (Cripplegate Song Festival 2006) situated the young generation in the heart of the City of London to showcase the most Tomasz Lis is very talented young singers from the Guildhall School of Music much in demand as an and Drama. He has studied French song with Malcolm accompanist, soloist and Martineau on the Britten-Pears Young Artist Programme and chamber musician.
    [Show full text]
  • Carlos Guastavino (1912-2000) Arranged by Earl Wild, and the Piano Music of Hans Gál
    NI 5818/20 ALSO AVAILABLE ON NIMBUS: CARLOS Piano music played by Martin Jones Complete Piano Music GUASTAVINO Enrique Granados, The Complete Published Works for Solo Piano NI 1734 Karol Szymanowski, Complete Piano Music NI 1750 Percy Grainger, ‘Dished up for piano’, Complete Piano Music NI 1767 Felix Mendelssohn, Complete Piano Music NI 1772 Claude Debussy, Complete Piano Music NI 1773 Erich Wolfgang Korngold, The piano music NI 5705/8 Federico Mompou, Music for Piano NI 5724/7 THE Dmitri Shostakovich, Piano Concertos NI 5308 Igor Stravinsky, Piano Music NI 5519/20 Earl Wild, Virtuoso Arrangements on melodies of Gershwin NI5743 COMPLETE Hans Gál, Piano Music NI5751/2 Piano Favourites PIANO Claude Debussy, Clair de Lune and other Piano Favourites NI 7702 Percy Grainger, Piano Favourites NI 7703 MUSIC Felix Mendelssohn, Songs Without Words NI 7704 Enrique Granados - Goyescas, Isaac Albéniz – Iberia NI 7718/9 Other releases by Martin Jones are available which include the piano music of Falla, Albéniz and Turina. MARTIN JONES Please check the Nimbus website for full track listing http://www.wyastone.co.uk 20 NI 5818/20 NI 5818/20 several Spanish piano masters and Volume 2 of this series received the 2000 Classical Indie Award from the Association for Independent Music in the USA. The soundtrack of the fi lm ‘Howards End’ features Martin Jones performing Grainger’s Bridal Lullaby and Mock Morris. Nimbus recently released Martin Jones’s performances of Gershwin songs Carlos Guastavino (1912-2000) arranged by Earl Wild, and the piano music of Hans Gál. His performance repertoire, as well as encompassing most of the standard works for piano, also includes unusual concertos such as the Busoni Concerto, which he performed The Complete Piano Music with the BBC Symphony Orchestra and Norman Del Mar.
    [Show full text]
  • Manuel De Falla
    The Best of Martin Jones Discover … MANUEL DE FALLA (1876-1946) DISCOVER Martin Jones has been one of Britain’s Martin Jones, piano most highly regarded solo pianists since first coming to international attention in 1 Allegro de concierto (1903-04) 8.00 1968 when he received the Dame Myra Hess Award. The same year he made his 2 Mazurka en do menor (c.1889) 5.09 London debut at the Queen Elizabeth 3 Serenata andaluza (1900) 4.41 Hall and his New York debut at Carnegie 4 Nocturno (1896) 4.35 Hall, and ever since has been in demand 5 Vals Capricho (1900) 2.58 for recitals and concerto performances 6 Serenata (1901) 3.50 on both sides of the Atlantic. Obras desconocida 7.38 He is a prolific recording artist and his 7 Canción (1900) 2.23 many major projects include the 8 Cortejo de gnomos (1901) 2.06 complete solo piano works of 9 Canto de los remeros del Volga (1922) 3.09 Mendelssohn, Brahms, Debussy, Grainger, Stravinsky, Korngold, 10 Homenaje – Le tombeau de Claude Debussy (1922) 3.26 Szymanowski, Granados, Guastavino, 11 Homenaje – Pour le tombeau de Paul Dukas (1935) 3.50 Mompou, Ernesto Halffter, Joaquin Nin, Has Gál, Jean Françaix, Jean Roger- Cuatro piezas espagñolas (1906-1909) 15.45 Ducasse, and Alan Richardson. 12 Aragonesa 3.10 13 Cubana 4.17 14 Montañesa (Paysage) 4.33 15 Andaluza 3.45 16 Fantasia Bætica (1919) 12.58 Total playing time : 72.50 2 NI 7731 NI 7731 7 Carlos Guastavino Enrique Granados The Piano Music of Manuel de Falla (1876-1946) Manuel de Falla y Matheu was born in Cádiz, the seaport on the southern tip of Andalusia, on 23 November 1876, and became the greatest Spanish composer of the twentieth century.
    [Show full text]
  • The Art Song of South America: an Exploration Through Performance
    ABSTRACT Title of Dissertation: THE ART SONG OF SOUTH AMERICA: AN EXPLORATION THROUGH PERFORMANCE Emily Jo Riggs, Doctor of Musical Arts, 2011 Dissertation directed by: Professor Carmen Balthrop School of Music, Voice Division The repertoire included in this dissertation was presented over the course of three recitals, The Songs of Argentina, The Songs of Brazil, Chile and Venezuela, and The Songs of Perú and Colombia. Each recital was supplemented by written program notes and English translations of the Spanish, Portuguese and Quechua texts. The selections presented in this study was chosen in an effort to pair the works of internationally renowned composers like Argentine composers Alberto Ginastera and Carlos Guastavino, and Brazilian composer Heitor Villa-Lobos, with those of lesser-known composers, including Venezuelan composer Juan Bautista Plaza, Peruvian composers Edgar Valcárcel, Theodoro Valcárcel, and Rosa Mercedes Ayarza de Morales, and Colombian composer Jaime Léon. Each composer represents a milestone in the development of art song composition in South America. All three recitals were recorded and are available on compact discs in the Digital Repository at the University of Maryland (DRUM). This dissertation was completed in May, 2011. THE ART SONG OF SOUTH AMERICA: AN EXPLORATION THROUGH PERFORMANCE by Emily Jo Riggs Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2011 Advisory Committee:
    [Show full text]
  • Curriculum Vitae Alejandro Cremaschi Professor of Piano Pedagogy UCB 301
    Curriculum Vitae Alejandro Cremaschi Professor of Piano Pedagogy UCB 301. College of Music University of Colorado at Boulder Boulder CO 80309 303 492-6510 • [email protected] January 30, 2021 Alejandro Cremaschi. Page 1 of 42 Table of contents I. EDUCATION 4 II. TEACHING POSITIONS HELD 4 III. RESEARCH, CREATIVE AND OTHER ACTIVITIES 5 A. Publications (print and digital) 5 A.1. Published 5 A.2. In progress 8 A.3. Submitted 8 A.4. In Press 8 B. Recordings 8 B.1. Published 8 B.2. In Press 10 C. Performances 10 C.1. International Performances 10 C.2. National Performances 12 C.3. Regional and Local Performances 15 C.4. World Premieres of Music Works 19 D. Presentations of Research at Professional Conferences 20 D.1. International Presentations 20 D.2. National Presentations 21 D.3. Regional and Local Presentations 24 E. Software 28 IV. TEACHING ACTIVITIES 29 A. Courses Taught at the University of Colorado Boulder 29 B. Curricular Development and Major Course Revisions 29 C. Course Development 30 D. Advising at the U. of Colorado 30 D.1. Principal Advisor 30 D.2. Written Thesis Co-Advisor 31 D.3. Graduate Student Committees 31 D.4. Clinical Supervision of Students 33 D.5. Supervision of Independent Study Projects 33 E. Master Classes, Clinics and Workshops Outside CU 33 E.1. Collegiate Master Classes and Workshops 33 E.2. Pre-collegiate Master Classes and Workshops 34 Alejandro Cremaschi. Page 2 of 42 V. AWARDS 35 VI. SERVICE ACTIVITY 36 A. Outreach 36 A.1. College Outreach Activities 36 B.
    [Show full text]