DOCSLIB.ORG

Guest Artist: Rene Izquierdo Rene Izquierdo, Classical Guitar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guest Artist: Rene Izquierdo Rene Izquierdo, Classical Guitar Illinois State University ISU ReD: Research and eData School of Music Programs Music 9-28-2015 Guest Artist: Rene Izquierdo Rene Izquierdo, Classical Guitar Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Izquierdo,, Rene Classical Guitar, "Guest Artist: Rene Izquierdo" (2015). School of Music Programs. 270. https://ir.library.illinoisstate.edu/somp/270 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]. Upcoming Events Illinois State University College of Fine Arts Friday - 02, October 2015 Gold Series: Wind Symphony School of Music 8 PM Center for the Performing Arts (CPA) Classical Guitar Society at ISU Saturday - 03, October 2015 Vought Studio Voice Recital 11 AM Kemp Recital Hall Sunday - 04, October 2015 Guest Artist Recital Series Charles W. Bolen Faculty Recital: Adriana Ransom, cello 1 PM University Galleries, Uptown Normal ____________________________________ Afternoon of Brass 3 PM Center for the Performing Arts (CPA) Tuesday - 06, October 2015 Rene Izquierdo, Classical Guitar Performance Convocation 11 AM Center for the Performing Arts (CPA) _____________________________________ Wednesday - 07, October 2015 Charles W. Bolen Faculty Recital: Christiana Reader, Chamber Music Recital 7:30 PM Kemp Recital Hall Thursday - 08, October 2015 Phi Mu Alpha Musicale 6:30 PM Kemp Recital Hall Symphonic Band & University Band 8 PM Center for the Performing Arts (CPA) Friday - 09, October 2015 Guest artist Recital: Moises Molina, cello & Jasmin Arakawa, piano Kemp Recital Hall 7 PM September 28, 2015 Kemp Recital Hall Monday Evening 7:30 p.m. Visit the School of Music website for more upcoming events: This is the fourteenth program of the 2015-2016 season. http://finearts.illinoisstate.edu/events/ Program About the Artist . Please turn off all electronic devices for the duration of the concert. Thank you. Sonata in D Minor, K. 1 Domenico Scarlatti Rene Izquierdo, a native of Cuba, Sonata in G Major, K.14 (1685-1757) graduated from the Guillermo Tomas, Amadeo Roldan Prelude in E Major, BWV 1006a Johann Sebastian Bach Conservatory and Superior Institute (1685-1750) of Art in Havana. In the United States, Mr. Izquierdo earned a Andante et Polonaise, Op. 44 Napoleon Coste Master of Music degree and an (1805-1883) Artist Diploma from the Yale University School of Music, where Madroños Federico Moreno Torroba he studied with Benjamin Verdery. (1891-1982) While at Yale he represented the Arabesque No. 1 Claude Debussy university in an exchange program (1862-1918) with the Conservatoire National de Musique et de Danse du Paris and Gran Jota Francisco Tarrega worked with guitarists Olivier (1852-1909) Chassain and Roland Dyens. Rene has appeared as a guest soloist and in chamber music concerts throughout the United States, Cuba, and ~ INTERMISSION ~ Europe. He has shared the stage with prestigious guitarists including Eliot Fisk, Benjamin Verdery and Jorge Morel, as well as renowned Three Cuban Songs arranged by Leo Brouwer flutist Ransom Wilson, soprano Lucy Shelton, David Jolley, and Paquito Zapateado Cubano Traditional d’Rivera. Renowned composers such as Jorge Morel and Carlos R. Ojos Brujos Gonzalo Roig Rivera have dedicated works to him. (1890-1970) Drume Negrita Ernesto Grenet Mr. Izquierdo is a recipient of numerous awards. He is a winner of (1908-1981) JoAnn Falletta International Guitar Competition in 2004, the La Comparsa Ernesto Lecuona Extremadura International Guitar Competition, the Schadt String (1895-1963) competition, and the Stotsenberg International Guitar Competition, among others. Los Ojos de Pepa Manuel Saumell La Caridad (1818-1870) He is currently a professor of classical guitar at the University of Wisconsin in Milwaukee and an active solo performer and chamber El Velorio Ignacio Cervantes musician. Rene has studied with Leo Brouwer, David Russell, Shin-Ichi Adios a Cuba (1847-1905) Fukuda, Eli Kassner, Pepe Romero, Angel Romero, Carlos Barbosa- Los Tres Golpes Lima, David Starobin, Eduardo Fernandez, Jorge Morel, Robert Beaser Guajira a Mi Madre Antonio Rojas and Anthony Newman among others. (1921-2008) .
Load more

Recommended publications
  • Nr Titel Artist 1 12Th Street Rag (EL Bowman) Toralf Tollefsen Och Hans
    Nr Titel Artist 1 12th street rag (E. L. Bowman) Toralf Tollefsen och hans orkester (1969) 2 12th street rag (Euday L Bowman) Dick Contino with Horace Heidt and His Musical Knights 3 12th street rag (Euday L. Bowman) Eric Silver Trio (1958) 4 12th street rag (Euday L. Bowman) John Molinari (1955) 5 12th street rag (Euday L. Bowman) Myron Floren 6 12th street rag (Euday L. Bowman)) Erik Frank med sextett (1951) 7 22-an Ann Kristin (E. Ahlin, Gus Morris) Nonne Hall. Carl Jularbos kvartett (1950) 8 5e danse hongroise de Y. Brahms Christian Di-Maccio 9 5me danse Hongroise (J Brahms) Yvette Horner & Championne du Monde d´Accordéon et son Ensemble 10 76 trombones (Willson) Jo Basile, Accordion and Orchestra (1962) 11 A fine romance (Kern) Jo Basile and Orchestra (1968) 12 A foggy day (Gershwin) Russ Messina (1958) 13 A foggy day in London town (Gershwin) Lill-Arne Söderberg 14 A gay ranchero (Espinosa) Dick Contino with David Carroll and His Orchestra 15 A gay ranchero (J. Espinosa) Charles Magnante (1973) 16 A guid new year William Hannah 17 A hupfata (Klarinettpolka) (Trad.) Ragnar Sundquist och Sven Hylén (1928) 18 Á hvalveidum (Pálmi Stefánsson) Jón Hrólfsson (1981) 19 A lustiger Erstfelder (Ländler) Urner Ziehharmonika-Duett 20 A Malva rosa e ´mniezo grano; Mallow; Amongst the Wheatfields Pietro Frosini 21 A media luz (C. Lentzi - E. Donato) Olle Johnny's orkester (1939) 22 A media luz (Donato) Philip Green and his Orchestra 23 A media luz (E. Donato) (1940) Tobis and his Gauchos 24 A Palermo (vals) Guido Deiro 25 A summer night (Hun är bare nitten sommrer) (Hans Erichsen) Arvid Franzén 26 A thousands and one nights (J Strauss) (arr by A Dellaira) Gene Ettore and his Accordion Ensemble 27 A toast to U.S.A.
    [Show full text]
  • Seccion 06 V
    1 SECCION 06 V NUMIDIA VAILLANT (Pianista) Ver: Esther Borja. Residió por muchos años en París, donde falleció. Ver wwwdesmemoriados.Com de Rosa Marquetti, para amplia información sobre esta artista. Lp Antilla 101 Reeditado casi inmediatamente como Kubaney 101.La Habana, 1955. Aunque se trata de canciones por Esther Borja, se incluyen dos solos de piano por Numidia. Danza cubana La hija de Oriente CARLOS VALADEZ (?) 8129 7/53 S 7316 Me la debes / b FR 8128 7/53 S 7317 Yiri yiri bon / afro-gu SM ABELARDO VALDÉS Ver: Orquesta Almendra de Abelardo Valdés ALFREDITO VALDÉS Y SU CONJUNTO (cu) La Habana, 1908 – New York, 10/28/1988. Cantante, hermano del también cantante Vicentico Valdés y sobrino del cantante y percusionista -más joven que ellos- Oscar Valdés, que estuviera con Irakere por mucho tiempo. Alfredito comenzó cantando en grupos soneros hasta ingresar en 1930 en el Septeto Nacional. Pero de ahí en adelante su trayectoria artística es muy variada y a veces, parece increíble: En 1936 reemplaza al legendario Pablito Quevedo en la orquesta de Cheo Belén Puig, y deja grabados una serie de danzones cantados antológicos, como Dulce serenidad, Ahora que eres mía y otros, pero con la misma destreza números movidos como Todos seguimos la conga. En 1937 se traslada a Nueva York y trabaja y graba con la orquesta de Cugat. Se atreve con números como Bruca maniguá, coto privado de Miguelito Valdés. Graba y canta también en 1938, con la orquesta de Nilo Menéndez y en ese mismo año, cambiando completamente de formato a dúo con Machito para el Cuarteto Caney.
    [Show full text]
  • Lecuona Cuban Boys
    SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA.
    [Show full text]
  • 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]
  • PROGRAMA Ernesto Lecuona in Memoriam (125 Años De Su Nacimiento)
    MARTES, 29 DE SEPTIEMBRE | 20:00 H – AUDITORIO “ÁNGEL BARJA” TROVA LÍRICA CUBANA Daina Rodríguez_soprano | Ana Miranda_alto | Nadia Chaviano_viola Flores Chaviano_guitarra y dirección PROGRAMA Ernesto Lecuona in memoriam (125 años de su nacimiento) EUSEBIO DELFÍN (1893-1995): Y tú qué has hecho? -bolero JULIO BRITO (1908-1968): El amor de mi bohío –guajira EDUARDO SÁNCHEZ DE FUENTES ELISEO GRENET (1893-1950): (1874-1944): La volanta Negro bembón/N. Guillén -son GONZALO ROIG (1890-1970): EMILIO GRENET (1901-1941): Ojos brujos -fantasía guajira Yambambó /N. Guillén -afro ERNESTINA LECUONA (1882-1951): GILBERTO VALDÉS (1905-1972): Tus besos de pasión -bolero Ogguere - canción de cuna afro MARGARITA LECUONA (1910-1981): RODRIGO PRATS (1909-1980): Babalú -motivo afrocubano Una Rosa de Francia -criolla bolero María Bailén: Chacone –romanza ERNESTO LECUONA (1895-1961): Aquella Tarde -criolla-bolero MOISÉS SIMONS (1889-1945): Siboney -tango congo El manisero -pregón María la O -romanza TROVA LÍRICA CUBANA rova Lírica Cubana fue fundada en España en 1992. Desde Manzanares el Real; Universidad de Salamanca; Festival Inter- entonces ha ofrecido recitales en numerosas instituciones: nacional Andrés Segovia, Fundación Botín de Santander o Casa Instituto Cervantes, Our Lady of Good Church de Nueva de Cantabria, y en ciudades como Florencia, Barcelona, Valencia, York, Centro Cultural Español de Miami; Centro Cultural de la Vi- Segovia, San Lorenzo del Escorial, Aranjuez o Gijón. lla, Centro Cultural Conde Duque, Sala Galileo, Casa del Reloj, Sa- cristía de los Caballeros de Santiago, Ateneo de Madrid; Clásicos Desde su fundación ha centrado su trabajo en la difusión en Verano de la Comunidad de Madrid, Castillo de Los Mendoza, del repertorio más selecto de la canción lírica cubana.
    [Show full text]
  • Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
    Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action.
    [Show full text]
  • Transatlantic Malagueñas and Zapateados in Music, Song and Dance
    Transatlantic Malagueñas and Zapateados in Music, Song and Dance Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma Edited by K. Meira Goldberg, Walter Aaron Clark and Antoni Pizà Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma Edited by K. Meira Goldberg, Walter Aaron Clark, Antoni Pizà This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by K. Meira Goldberg, Walter Aaron Clark, Antoni Pizà and contributors Cover: El Zapateado by Luis Marquier. Litrograph, 1840. In Pierre Toussaint Frederic Miahle, Viage pintoresco al rededor de la Isla de Cuba : dedicado al Escmo. Gov. Conde de Villanueva / dibujado y litografiado por D. Federico Mialhe ([Havana] : B. May y Ca., [ca. 1855]). Courtesy of the Beinecke Rare Book and Manuscript Library, Yale University All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3220-8 ISBN (13): 978-1-5275-3220-5 …vista la ridícula figura de los criados cuando dan a beber a sus señores, haciendo el Coliseo, el Guineo, inclinando con notable peligro y asco todo el cuerpo demasiado; y siendo mudos de boca, son habladores de pies… …considering the ridiculous figure of servants when they offer drinks to their masters, dancing the Coliseo, the Guineo, excessively inclining their bodies in a notably dangerous and disgusting manner; and though they are mute, they are chatterboxes with their feet… — Francisco de Quevedo, 1627 TABLE OF CONTENTS Acknowledgments ....................................................................................
    [Show full text]
  • Joaquín Nin-Culmell Papers [Coll 076]
    Joaquín Nin-Culmell papers [Coll 076] Biographical Information Joaquín Nin-Culmell (1908-2004) Pianist, Conductor, Lecturer, Professor of Music, and Composer Educated at the Schola Cantorum (1925-1930) first studying in the class of Paul Braud, himself a pupil of Cesar Franck)and privately with Alfred Cortot and Ricardo Vines, also in Paris. At the Paris Conservatory Nin- Culmell studied harmony, counterpoint, and fugue with Jean and Noel Gallon, and composition with Paul Dukas in 1932. He then studied privately with Manuel de Falla in Grenada. As a concert virtuoso, Nin-Culmell then performed in Spain, France, Switzerland, Italy, Belgium, Denmark, England, the United States, Canada and in Cuba. Instructor of Music, Williams College, 1940, establishing a separate Music Department there in 194; he was chairman, 1949-1950. Correspondent, Royal Academy of Fine Arts of San Fernando, Madrid; served on many international Juries; Creative Arts Institute Fellow; Chairman, Music Department, University of California, Berkeley (1951-1954). Professor Emeritus, University of California, Berkeley, retiring in 1971. Founder and conductor of the Berkshire Community Orchestra. Conductor of the University of California Symphony from 1950 to 1954. Guest conductor of the Miami Symphony Orchestra, San Francisco Symphony Orchestra, Aspen Festival Orchestra, and the Municipal Orchestra of Barcelona. Composer for piano, for voice and piano, for piano and string quartet, voice and string quartet, solo cello, solo guitar, for piano and orchestra, for cello and orchestra, for orchestra, for unaccompanied chorus. Composer for organ and mixed chorus of the Dedication Mass for St. Mary’s Cathedra in San Francisco (1971); 48 tonadas for piano, an XVIIIth century Spanish Cantata for voice, string orchestra and harpsichord, and a new set of Five Traditional Songs for voice and piano.
    [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]
  • Choreography: Rodrigo Pederneiras Music: Ernesto Lecuona Paulo
    (Premiere 2004) choreography: Rodrigo Pederneiras music: Ernesto Lecuona set design and lighting: Paulo Pederneiras costume design: Freusa Zechmeister (duration: 40 minutes) First, there are the strings, a whole lot of them. Then, the melodious piano. There are the tunes that verge on the kitsch, but end up being breath-takingly beautiful. The hyperbolic voices never miss a chance to go for vibratos or to hit shrill high notes – they are privileged and legitimate representatives of a by-gone era, of popular songs sung by classically trained voices. And then there are the words, passionate and impetuous, speaking of torrid love, voluptuous magnificence, ill-fated jealousy, broken hearts, brutal longings, contempt, rancor, and indifference... Having received Petrobras endowment (the most prestigious grant of the country) for 4 years, and 12 years after staging the last choreography not set to an original soundtrack, GRUPO CORPO decides to challenge its own rules to render homage to the greatest icon of Cuban music of all times, dancing to twelve songs and one waltz from pianist and composer Ernesto Lecuona (1895-1963) in twelve duets and only a single group formation. Each of the duets that dance Lecuona’s twelve love songs is given one particular color. The light design created by Paulo Pederneiras constitutes the scenic space by projecting 8x7.5-metre cubes made of monochromatic light in hot hues. These cubes move in the black box following the moves of the each couple. The male dancers play domineering roles and get on stage wearing patent leather shoes, shirts, T-shirts or tank tops, and waistband trousers in various hues of black.
    [Show full text]
  • Bibliografia Cubana
    BIBLIOGRAFIA CUBANA TOMO II 1980 V ■■ J _____¿_______» TOMO II BIBLIOGRAFIA CUBANA 1980 7 Introd. Introducción INTUR instituto Nacional de Turismo !SA Instituto Superior de Arte jun. ju n io lui- ju lio LD larga duración LD-CA-L Larga duración-Casa de las Américas-llteratura LP long playing LPV Listos Para Vencer m in. m inutos MINAL Ministerio de la Industria Alimenticia M INFAR Ministerio de las Fuerzas Armadas Revolucionarías MITRANS Ministerio de Transportes mm. m ilím e tro s nov. noviem bre oct. octubre ONU Organización de las Naciones Unidas op. opus OSPAAAL Organización de Solidaridad con los Pueblos de Asia, Africa y América Latina P páginas PCC Partido Comunista de Cuba pig. pulgada PRD Producción R. D. RDA República Democrática Alemana rev. revisado, revisión RFA República Federal de Alemania rpm, revoluciones por minuto RSCh República Socialista de Checoslovaquia s. sig lo sep, sep tiem b re s.i. sin lugar t. tom o UJC Unión de Jóvenes Comunistas UNEAC Unión Nacional de Escritores y Artistas de Cuba UNESCO Organización de las Naciones Unidas para la Educación, la Ciencia y la C ultura URSS Unión de Repúblicas Socialistas Soviéticas vol. volum en I CUARTA SECCIÓN: MATERIALES ESPECIALES MATERIALES ESPECIALES: SUB-SECCIONES No. de asiento Carteles 1669-1978 Emisiones postales 1979-2002 Exposiciones 2003-2090 Fonorregistros 2091-2198 Obras musicales 2199-2471 Producción cinematográfica 2472-2538 Programas 2539-2779 CARTELES 1669 ABREU PADRON, LAZARO. Viva Zimbabwe libre. La Habana, OSPAAAL, 1980. Offset, color. 93 x 48 cm. Texto en varios idiomas 1670 ACOSTA AVILA, GLADYS. Las ideas de Lenin viven y triunfan.
    [Show full text]
  • Music of Cuba 1 Music of Cuba
    Music of Cuba 1 Music of Cuba Music of Cuba General topics Related articles Genres Batá and yuka · Bolero · Chachachá · Changui · Charanga · Conga · Contradanza · Danzón · Descarga · Filín · Guajira · Guaracha · Habanera · Jazz · Hip hop · Mambo · Nueva trova · Rock · Rumba · Salsa cubana · Son · Son montuno · Timba · Trova Media and performance Music awards Beny Moré Award National anthem La Bayamesa Regional music Anguilla · Antigua and Barbuda · Aruba · Bahamas · Barbados · Bermuda · Bonaire · Cayman Islands · Curaçao · Dominica · Dominican Republic · Grenada · Guadeloupe · Haiti · Jamaica · Louisiana · Martinique · Montserrat · Puerto Rico · St Kitts and Nevis · St Lucia · St Vincent and Grenadines · Trinidad and Tobago · Turks and Caicos · Virgin Islands The Caribbean island of Cuba has developed a wide range of creolized musical styles, based on its cultural origins in Europe and Africa. Since the 19th century its music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of world music since the introduction of recording technology. The music of Cuba, including the instruments and the dances, is mostly of European (Spanish) and African origin. Most forms of the present day are creolized fusions and mixtures of these two sources. Almost nothing remains of the original Indian traditions.[1] Overview Large numbers of African slaves and European (mostly Spanish) immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, paso doble and retambico. Later, northern European forms like minuet, gavotte, mazurka, contradanza, and the waltz appeared among urban whites. There was also an immigration of Chinese indentured laborers later in the 19th century.
    [Show full text]