DOCSLIB.ORG

Program Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Notes March 7-8, 2020, page 1 programBY DR. RICHARD E. RODDA notes for Harpsi- his Rainbow Body won the First Prize of If Falling Is a Leaf £25,000 in the Masterprize Competition, chord and Strings (2019) a London-based, British-American part- World Premiere nership of EMI, the London Symphony Commissioned by the Allentown Sym- Orchestra, Gramophone magazine, phony Orchestra Classic FM and National Public Radio CHRISTOPHER THEOFANIDIS ■ BORN IN whose winner is chosen jointly by the 1967 public and a panel of experts; Rainbow Christopher Theofanidis, one of Amer- Body has subsequently become one of ica’s most prominent composers, was the most frequently performed pieces by born in Dallas on December 18, 1967, a living composer. and studied at the University of Hous- Theofanidis wrote of If Falling Is a ton (B.M.), Eastman School of Music Leaf, commissioned by the Allentown (M.M.) and Yale University (M.A. and Symphony Orchestra, “The title of this D.M.A.). He has served on the faculty of work is from a poem that was written for the Yale University School of Music since this occasion by a friend of mine, called September 2008; his previous teach- If falling is a leaf. Like the Vivaldi Four ing appointments include the Peabody Seasons, it is inspired from a poem, but Institute in Baltimore, Juilliard School, the poem itself is also responding to a University of Houston, American Festi- David Hockney painting called Autumn val of the Arts and Texas Piano Institute. Leaves. I decided that a single season In summer 2014, he joined the faculties seemed to be in order for this composi- the Aspen Music Festival, Atlantic Cen- tion, and I love the vibrancy of fall — the ter for the Arts and HighSCORE Festival colors, the wind, the air.” in Italy. Theofanidis has held residencies with the Pittsburgh Symphony, Califor- The Four Seasons of Bue- nia Symphony and Norfolk Chamber nos Aires for Violin and Or- Music Festival, and has also served as chestra (1968) a delegate to the United States–Japan ■ Foundation’s Leadership Program. His ASTOR PIAZZOLLA 1921-1992 numerous awards include the Prix de The greatest master of the modern Rome, a Guggenheim Fellowship, Barlow tango was Astor Piazzolla, born in Mar Prize, Charles Ives Fellowship from the Del Plata, Argentina, a resort town south American Academy of Arts and Letters, of Buenos Aires, in 1921 and raised in Bearns Prize of Columbia University, New York City, where he lived with his Fulbright Fellowship for study in France, father from 1924 to 1937. Before Astor six ASCAP Morton Gould Prizes, and a was ten years old, his musical talents had 2007 Grammy nomination for The Here been discovered by Carlos Gardel, then and Now for chorus and orchestra, based the most famous of all performers and on the poetry of Rumi. In October 2003, composers of tangos and a cultural hero March 7-8, 2020, page 2 in Argentina. At Gardel’s urging, the The Four Seasons (ca. 1720) young Astor returned to Buenos Aires ■ in 1937 and joined the popular tango ANTONIO VIVALDI 1678-1741 orchestra of Anibal Troilo as arranger The Gazette d’Amsterdam of December and bandoneón player. Piazzolla studied 14, 1725 announced the issuance by the classical composition with Alberto local publisher Michele Carlo Le Cène Ginastera in Buenos Aires, and in 1954, of a collection of twelve concertos for he wrote a symphony for the Buenos solo violin and orchestra by Antonio Aires Philharmonic that earned him a Vivaldi — Il Cimento dell’Armonia e scholarship to study in Paris with Nadia dell’Inventione, or “The Contest between Boulanger. When Piazzolla returned Harmony and Invention,” Op. 8. The to Buenos Aires in 1956, he founded works were printed with a flowery dedi- his own performing group, and began cation typical of the time to the Bohemi- to create a modern style for the tango an Count Wenzel von Morzin, a distant that combined elements of traditional cousin of Haydn’s patron before he came tango, Argentinean folk music and into the employ of the Esterházy family contemporary classical, jazz and popular in 1761. On the title page, Vivaldi de- techniques into a “Nuevo Tango” that scribed himself as the “maestro in Italy” was as suitable for the concert hall as for to the Count, though there is no record the dance floor. Piazzolla toured widely, of his having held a formal position with recorded frequently and composed him. Vivaldi probably met Morzin when incessantly until he suffered a stroke in he worked in Mantua from 1718 to 1720 Paris in August 1990. He died in Buenos for the Habsburg governor of that city, Aires on July 5, 1992. Prince Philipp of Hessen-Darmstadt, Piazzolla realized his electrifying blend and apparently provided the Bohemian of the fire and passion of the traditional Count with an occasional composi- tango with the vast expressive resources tion on demand. (A bassoon concerto, of modern harmony, texture and sonor- RV 496, is headed with Morzin’s name. ity in some 750 widely varied works that Vivaldi claimed that Morzin had been explore the genre’s remarkable expres- enjoying the concertos of the 1725 Op. sive range, from violent to sensual, from 8 set “for some years,” implying earlier witty to melancholy, from intimate to composition dates and a certain circula- theatrical. tion of this music in manuscript copies, Among Piazzolla’s most ambitious and hoped that their appearance in print concert works is Las Cuatro Estaciones would please his patron. Porteñas (“The Four Seasons of Buenos Aires”), published originally for piano Symphony No. 6 in F major, Op. solo in 1968 and later arranged for his 68, “Pastoral” (1807-1808) own ensemble (he often used one of the LUDWIG VAN BEETHOVEN ■ 1770 -1827 movements to open his concerts) and for Beethoven gave each movement of his strings and piano. The four movements, “Pastoral” Symphony a title. The first beginning with Spring, are not specifical- movement, filled with verdant sweet- ly pictorial, as are Vivaldi’s well-known ness and good humor, is headed The precedents, but are instead general Awakening of Cheerful Feelings at the evocations of the changing seasons in Arrival in the Country. The violins pres- Piazzolla’s native Argentina. March 7-8, 2020, page 3 ent a simple theme that pauses briefly after only four measures, as though the composer were alighting from a coach and taking a deep breath of the fragrant air before beginning his walk along a shaded path. The melody grows more vigorous before it quiets to lead to the second theme, a descending motive played by violins. Again, the spirits swell and then relax before the main theme returns to occupy most of the develop- ment. The recapitulation returns the themes of the exposition in more richly orchestrated settings. Scene at the Brook exudes an air of tranquility amid gentle activity. The sonata-form movement starts with a fragmentary idea in the first violins sounded above a rich accompani- ment. The second subject begins with a descending motion, like that of the first movement, but then turns back upward to form an inverted arch. A development section utilizing the main theme follows. The recapitulation recalls the earlier themes with enriched orchestration. In the closing pages of this movement, the rustling accompaniment ceases while all Nature seems to hold its breath to listen to the songs of three birds — night- ingale, dove and cuckoo. Twice this tiny avian concert is heard before the movement closes. Merry Gathering of the Peasants is filled with a rustic bump- tiousness and simple humor that recall a hearty if somewhat ungainly country dance; the central trio is a stomping dance. The festivity is halted mid-step by distant thunder portending a Storm. As the tempest passes over the horizon, the silvery voice of the flute leads into the finale, Shepherd’s Song: Joyful, Thank- ful Feelings after the Storm. The clarinet sings the unpretentious melody of a shepherd, which returns, rondo-fashion, to support the form of the movement. ©2019 Dr. Richard E. Rodda ALLENTOWN SYMPHONY ORCHESTRA MARCH 7-8, 2020 8:00 P.M., SYMPHONY HALL PROGRAM DIANE M. WITTRY MUSIC DIRECTOR/CONDUCTOR If Falling Is a Leaf CHRISTOPHER THEOFANIDIS for Harpsichord and Strings World Premiere Commissioned by the Allentown Symphony orchestra Selections from: The Four Seasons of Buenos Aires ASTOR PIAZZOLLA The Four Seasons ANTONIO VIVALDI Violin Soloist: Lindsay Deutsch Spring (Op. 8, No. 1, R. 269) VIVALDI I. The spring has come: Allegro Spring in Buenos Aires PIAZZOLLA Summer in Buenos Aires Summer (Op. 8, No. 2, R. 315) VIVALDI III. Alas, fears of summer heat are borne out: Presto Autumn (Op. 8, No. 3, R. 293) III. At dawn the hunters set out: Allegro Winter in Buenos Aires PIAZZOLLA Winter (Op. 8, No. 4, R. 297) VIVALDI II. Spending quiet and happy days by the fire: Largo III. Walking on the ice with slow steps: Allegro INTERMISSION Symphony No. 6 in F major, LUDWIG VAN BEETHOVEN Op. 68, “Pastoral” The Awakening of Cheerful Feelings at the Arrival Scene at the Brook: Andante molto mosso Merry Gathering of the Peasants: Allegro — Storm: Allegro — Shepherd’s Song: Joyful, Thankful Feelings after the Storm: Allegretto.
Load more

Recommended publications
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 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 INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Milva Live at the "Bouffes Du Nord" Mp3, Flac, Wma
    Milva Live At The "Bouffes Du Nord" mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin / Pop / Folk, World, & Country Album: Live At The "Bouffes Du Nord" Country: Germany Released: 1984 Style: Tango, Vocal MP3 version RAR size: 1722 mb FLAC version RAR size: 1618 mb WMA version RAR size: 1763 mb Rating: 4.5 Votes: 877 Other Formats: ASF MOD VOC MPC DTS XM MP2 Tracklist Hide Credits Morire En Buenos Aires 1 4:53 Written-By – Angela Tarenzi, Astor Piazzolla, Horacio Ferrer Los Pajaros Perdidos 2 4:06 Written-By – Astor Piazzolla, Michele Trejo De Carissimo 3 2:50 Written-By – Astor Piazzolla Années De Solitude 4 3:47 Written-By – Astor Piazzolla, Maxime Le Forestier Balada Para Un Loco 5 5:49 Written-By – Astor Piazzolla, Horacio Ferrer Vamos Nina 6 4:27 Written-By – Astor Piazzolla, Horacio Ferrer J'Oublie 7 4:28 Written-By – Astor Piazzolla, David McNeil Che Tango Che 8 3:49 Written-By – Astor Piazzolla, Jean-Claude Carrière Preludio Para El Año 3001 9 4:21 Written-By – Angela Tarenzi, Astor Piazzolla, Horacio Ferrer Finale "Entre Brecht Et Brel" 10 5:16 Written-By – Astor Piazzolla, Claude Lemesle Companies, etc. Recorded At – Théâtre des Bouffes du Nord, Paris Manufactured By – Metronome Musik GmbH Distributed By – Metronome Musik GmbH Phonographic Copyright (p) – Metronome Musik GmbH Mixed At – Rüssl Studio Credits Artwork [Cover Design] – Michael Behr Bandoneon – Astor Piazzolla Bass – Hector Console Ensemble – Quintette De Tango Contemporain (tracks: 3) Guitar – O. Lopez Ruiz* Mixed By – Thomas Kuckuck* Piano – Pablo Ziegler Violin – F. Suarez Paz* Notes (P) 1984 METRONOME MUSIC GmbH Recorded live at the Theatre "Bouffes du Nord", Paris, September 29th., 1984 by "Le Voyageur" mobile studio.
    [Show full text]
  • Astor Piazzolla This Is the Story of Travel, Travail and Triumph in the Life
    Astor Piazzolla This is the story of travel, travail and triumph in the life of an Argentine musician, Astor Pantaléon Piazzolla. His travels were two-fold: across the continents and through many kinds of music. That he was able eventually to combine these musical strands into something new and distinctively his own was his triumph, but it was long-delayed and there were many travails along the way. Argentina’s spectacular 19th century boom had attracted millions of migrants, including Piazzolla’s Italian grandparents. By the time of Piazzolla’s birth in 1921, it was long over, but the rich ethnic mix it created had left a musical legacy. In the brothels of Buenos Aires, the music and dance of Spain, Cuba and Italy had fused with that of the gauchos and Afro- Argentine ex-slaves to create a new dance form, the tango. Its early manifestations were blatantly sexual and reeked too much of the bordello to be tolerated in polite society. But after some refinement in the salons of Paris it emerged in 1912 to sweep the world. Argentina especially went wild for the tango and its quintessential instrument, the bandoneón, an odd form of concertina with a characteristic tone. A public holiday, July 11, was declared Bandoneón Day, and tango cafés, dance halls and cabaret houses sprang up everywhere to cater for every social stratum. Astor’s father, Vincente, was an enthusiastic tanguero and dreamed that his son would become a bandoneonist. His dream came true but hardly in the way he imagined. It was with great reluctance that Vincente took his family away from this lively scene to search for prosperity in New York and it almost proved disastrous for his son.
    [Show full text]
  • Quinteto Astor Piazzolla – Bio (Revised September 2020)
    Quinteto Astor Piazzolla – Bio (revised September 2020) In 1960, bandoneonist and composer Astor Piazzolla looked for a new instrument to interpret his ideas and put together his first great quintet. It was an unusual group, especially for tango, as it featured bandoneon, violin, electric guitar, piano, and double bass. Part chamber group, part jazz band, but deeply rooted in the spirit and history of tango, the quintet offered Piazzolla a broad range of resources and possibilities that proved critical for his New Tango. A decade later, Piazzolla, always restless and attuned to the musical trends of the time, dissolved the quintet, experimented with other ensembles, and decided to settle for a time in Europe. But in 1978, back in Buenos Aires, he went back to the sound of the quintet, assembling a new group that would stay with him for the next decade. It was a superb group that performed his, by now, classics, and pushed him to create new masterpieces. Piazzolla's death, on July 4, 1992, marked a new stage for his work. From then on, others would have to continue his efforts and champion his music. With that purpose, Laura Escalada Piazzolla, his companion of nearly 20 years, created the Fundación Astor Piazzolla and, in 1998, founded the Quinteto Astor Piazzolla, a repertory group to perform and update the sound of his emblematic ensemble. Creating an ensemble to play Piazzolla is no easy task. Instrumental virtuosity is indispensable — but not enough. This music also demands street wisdom, boldness, and a certain quality that the maestro called "roña" (grime) — the perfection of the imperfect.
    [Show full text]
  • 19-20.Catalog.Pdf
    Jefferson College takes great pleasure in bringing the arts to Jefferson County! Music, art, theatre, and literature have been an essential part of humanity since the beginning of civilization, and Jefferson College makes the arts a priority by bringing this series to the community at the most affordable prices ANYWHERE! Jefferson College believes that by enriching the lives of the people in our community, we are making Jefferson County a better place to live. The caliber of performances you will find here are easily on par with any in the St. Louis area. You are welcome on campus, and we hope you will join us for these wonderful presentations. Jefferson College is proud to present the 2019-20 Performing Arts and Cultural Enrichment Series. It includes guest artists from across the country in the areas of theatre, art, literature, and music, in addition to wonderful performances by our college community. Guest artists this year vary from a Pulitzer Prize-winning author to nationally known musicians and highly accomplished local professionals. This is in addition to artistic performances of students and community. In this year’s music performances we are bringing an eclectic mix including jazz, blues, folk music, Dixieland, Argentinian tango, and chamber music. In theatre, there is quirky humor, a charming children’s play, drama, suspense, and mystery. The annual art exhibits feature both the work of our college students in addition to a special exhibit of exceptional high school works. PACE series season pass entitles the owner to one free ticket per event. Save big compared to single event admission by purchasing a PACE season pass for the entire series! 2019-20 PACE SEASON PASS $25 General Admission • $15 Students & Seniors Individual Event Pricing/Advance Tickets: $5-10 General Admission / $2-5 Students & Seniors All individual advance ticket purchases must be done in person at the Cashier’s Window located in the Student Center, Hillsboro Campus: Mon –Thurs 7:30 AM – 6 PM / Friday 7:30 AM – 4 PM.
    [Show full text]
  • Monthly OTP March 2019
    Monthly OTP March 2019 ON-TIME PERFORMANCE AIRPORTS Contents On-Time is percentage of flights that depart or arrive within 15 minutes of schedule. Global OTP rankings are only assigned to all Airlines/Airports where OAG has status coverage for at least 80% of the scheduled flights. Regional Airlines Status coverage will only be based on actual gate times rather than estimated times. This may result in some airlines / airports being excluded from this report. If you would like to review your flight status feed with OAG please [email protected] MAKE SMARTER MOVES OAG Airport Monthly OTP – March 2019 Page 1 of 2 Home GLOBAL AIRPORTS – TOP 100 GLOBAL AIRPORT PERFORMANCE On-time performance GLOBAL AIRPORT PERFORMANCE On-time performance Airport Departures Rank No. flights Size Airport Departures Rank No. flights Size SIP Simferopol 98.4% 1 764 613 VOG Volgograd 92.7% 51 417 864 MSQ Minsk International Apt 97.7% 2 1,880 346 KYA Konya 92.7% 52 290 1,007 ARI Arica 97.6% 3 246 1,057 CJC El Loa Apt 92.7% 53 675 663 KRP Karup 97.6% 4 311 986 SUV Suva 92.6% 54 395 884 USN Ulsan 97.4% 5 351 939 UKB Osaka Kobe Airport 92.5% 55 1,241 451 TJM Tyumen 96.9% 6 747 622 TAE Daegu 92.3% 56 1,337 435 CCP Carriel Sur Intl Apt 96.6% 7 477 808 MBS Saginaw/Midland/Bay C. 92.3% 57 260 1,038 VQS Antonio Rivera Rodriguez Apt 96.6% 8 394 887 KCZ Kochi (JP) 92.2% 58 683 659 ROV Rostov 96.2% 9 980 518 ITO Hilo 92.2% 59 510 768 LDU Lahad Datu 96.1% 10 155 1,183 OKD Sapporo Okadama Apt 92.2% 60 358 932 TGU Toncontin Intl Apt 95.8% 11 567 733 LYH Lynchburg 92.1% 61 177 1,155 TTJ Tottori 95.5% 12 155 1,185 KSC Kosice 92.1% 62 193 1,130 YQU Grande Prairie 95.4% 13 371 912 TRS Trieste 92.0% 63 358 931 MRV Mineralnye Vody 95.3% 14 739 626 GUA La Aurora Intl Apt 91.9% 64 1,635 375 MGA Augusto C.
    [Show full text]
  • National Gallery of Art 2018 2019CONCERTS Seventy-Seventh Season
    national gallery of art 2018 2019CONCERTS seventy-seventh season Welcome to the 2018 – 2019 season of CONCERTS AT concerts at the National Gallery of Art. In our seventy-seventh season, we examine — in a way that we are uniquely equipped to do — the relevance of THE GALLERY the arts in today’s world. Throughout our thirty-six Sunday and eight Friday performances, we ask the questions who, what, when, where, why, and how music and art reflect — and affect — our daily lives in the twenty-first century. We hope our spectrum of performers, exhibition-related concerts, and special themes will nourish and celebrate the importance of expression through the visual and performing arts. top Tapestry, photo by Susan Wilson. middle left Inscape Chamber Orchestra, photo by Jennifer White- Johnson. middle right Daniel Schlosberg, photo by Erin Clendenin. bottom Air Force Strings, photo by MSgt Joshua Kowalsky. WELCOME 3 CALENDAR The seventy-seventh season of concerts at the National 18 | Sunday | 3:30 Gallery of Art is open to the public, free of charge. Admittance Nobuntu p8 is on a first-come basis thirty minutes before the concert begins. For further information, call (202) 842-6941 or visit 23 | Friday | 12:10 nga.gov/music. Location TBD PROJECT Trio p22 Unless otherwise noted, concerts are held in the West Building, West Garden Court. 25 | Sunday | 3:30 M5 Mexican Brass p9 SEPTEMBER OCTOBER DECEMBER 16 | Sunday | 3:30 7 | Sunday | 3:30 Living Art Collective Julie Fowlis, vocalist p6 2 | Sunday | 3:30 Ensemble (LACE) Carolina Eyck + American Elisa Monte Dance p16 14 | Sunday | 3:30 Contemporary Music Curtis on Tour: Ensemble p9 23 | Sunday | 3:30 Jason Vieaux, guitar Emilio Solla Tango-Jazz Nigel Armstrong, violin p6 8 | Saturday | 1:30 | 2:30 Trio p6 West Building Rotunda 21 | Sunday | 3:30 U.S.
    [Show full text]
  • Piazzolla Caldera (1997) (Company Premiere 2015)
    Piazzolla Caldera (1997) (Company Premiere 2015) Choreography: Paul Taylor Restaged by: Richard Chen See Music: Astor Piazzolla and Jerzy Peterburshsky Set, Décor, and Costumes: Santo Loquasto Lighting: Jennifer Tipton Created in 1997, Paul Taylor’s Piazzolla Caldera is a sensual exposé of tango as reinterpreted and reimagined with modern dance. Taylor honors the tradition of tango, preserving the essence of the form in his choreography. The music, composed by Astor Piazzolla and Jerzy Peterburshsky, shapes the work into four distinct sections, a complex and electric landscape where dancers can sway and swivel through the arts of both tango and modern dance. In a dimly lit club, working class men and women confront each other in sizzling sexual duets and trios: men with women, men with men, and women with women. Two men too drunk for conquests perform a loopy dance as lamplights sway dizzily overhead. A woman, who has searched desperately for a partner but failed to find one, collapses – as if mortally wounded by a night without passion. Men and women engage in a series of fiery encounters, in turns playful and predatory, in this passionate homage to tango’s Argentinian working class roots. Alvin Ailey American Dance Theater in Paul Taylor’s Piazzolla Caldera. Photo by Paul Kolnik “‘Piazzolla Caldera’… is a work whose complexities suggest why Mr. Taylor remains such a fresh and important artist after more than four decades. … The dancing itself seems to occur outside of time, furling and unfurling kaleidoscopically. … Mr. Taylor’s choreographic invention is quietly dazzling.” –The New York Times “Stunning. Taylor looks at the attitudes implicit of the tango—as sexual game, as social identity—and reshapes them.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Quinones, Jessica Marie Constructing the authentic: approaching the `6 Tango-Etudes pour Flute Seula' by Astor Piazzolla (1921±1992) for interpretation and performance Original Citation Quinones, Jessica Marie (2013) Constructing the authentic: approaching the `6 Tango-Etudes pour Flute Seula' by Astor Piazzolla (1921±1992) for interpretation and performance. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/23457/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 CONSTRUCTING THE AUTHENTIC: APPROACHING THE ‘6 TANGO-ETUDES POUR FLÛTE SEULE’ BY ASTOR PIAZZOLLA (1921–1992) FOR INTERPRETATION AND PERFORMANCE JESSICA QUIÑONES A thesis submitted
    [Show full text]
  • Learning Activity
    From the Top at Carnegie Hall Episode 2: “Family Ties” Airing on PBS (check local TV listings) Available online at pbs.org Learning Activity Title: Mad Hot Tango! Description: In this activity students will listen to and analyze characteristics of tango music, especially rhythm, and experiment with variations in tempo. Grade Level: 9-12 National Music Standard: 6, Listening to, analyzing, and describing music Background In this episode violinist Caeli Smith plays a wonderful movement from Astor Piazzolla’s L’histoire du tango (The history of the tango), called “Bordel 1900.” Originally written for flute and guitar, this version was arranged for violin and piano by Tim Ribchester. In the rehearsal scene, we see Caeli and Chris O’Riley working with Pablo Ziegler, a pianist who collaborated with Piazzolla for many years and carries on his musical legacy. Caeli Smith and Christoper O’Riley on stage at Carnegie Hall Astor Piazzolla was a major influence on the development of the tango style during his long career, which began in the 1930’s and ended at his death in 1992. Born in Argentina to Italian immigrant parents in 1921, he was playing tango music and composing by the time he was in his late teens. The tango originated in the dance halls of Buenas Aires in the late 19th century and was a well-established and beloved hallmark of Argentinean popular music by the time Piazzolla began his career. But Piazzolla’s great musical curiosity and versatility (he also composed in classical and jazz styles) drew him to experiment with the “classic” tango form (to the dismay of some purists!).
    [Show full text]
  • 4.1 Gustavo Beytelmann - Introduction
    Cover Page The handle http://hdl.handle.net/1887/30110 holds various files of this Leiden University dissertation Author: Varassi Pega, Bárbara Title: Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann Issue Date: 2014-12-11 4.1 Gustavo Beytelmann - Introduction Pianist, arranger and composer (1945) In recent years, many innovations have been made in tango. One such innovation is a fusion of genres, which, to a greater or lesser extent, build on or redefine structural elements of tango. The work of Gustavo Beytelmann is exemplary of such innovation: it features a fusion of 20th century Western art music and popular music (tango). According to Esteban Buch, who submits that tango is undoubtedly the main reference for Beytelmann’s music: The generic complexity of Piazzolla’s music opened up new possibilities that have seldom been explored in a truly original fashion. Gustavo Beytelmann’s work [...] may well represent the most relevant proposal in this regard, capable of adding what Piazzolla’s world precisely lacked: the ‘true’ contemporary music that since the fifties did not turn to Nadia Boulanger but to Pierre Boulez, and in Beytelmann’s very case, to Francisco Kröpfl.255 Born in Venado Tuerto, Argentina, to a family of musicians and music lovers, Beytelmann played classical and popular piano repertoire from a very young age. The experience of performing in orquestas típicas and various ensembles, some with his father, a violinist, exposed him to a myriad of popular music genres, deeply influencing his career. The connection between popular and art music continued during the years he studied classical piano, harmony and composition in Rosario, where his activities as a tango pianist for composer and bandoneonist Domingo Federico also marked a milestone in his musical life.
    [Show full text]
  • Tangueros Del Sur Press
    PRESS KIT “Tango, at its truest” - The New York Times Natalia Hills Artistic Director & Choreographer Tango dancer and choreographer Natalia Hills comes from three generations of Tango dancers. Hills made her theatrical debut at the young age of 12 in the historic Corrientes theater district in Buenos Aires performing alongside Tango legends: dancer and choreographer Juan Carlos Copes, vocalist Roberto Goyeneche and Atilio Stampone (composer, pianist). Hills later went on to perform as one of the original members of the Broadway and London hit, Forever Tango which was nominated for a Tony and Drama Desk awards for best choreography. In 1995, after a successful theater season in London’s West End, she was invited to perform at a British Embassy event in honor of Princess Diana Spencer. Over the course of her career, Hills has danced in the most prestigious theaters in the world: the Colón Theater in Buenos Aires, the Hollywood Bowl as a primary dancer accompanied by the Los Angeles Philharmonic, and in the Walter Kerr, Marquis, and Shubert Theaters on Broadway. Television appearances include NBC’s Today Show, Evening at the Pops on PBS featuring the Boston Pops and hosted by Leslie Caron, and on the National Geographic channel among others. Founding her company in 2009, Tangueros del Sur made its US premiere at New York City Center that same year. The company has also performed at Vail International Dance Festival (2010), Jacob's Pillow Dance at Ted Shawn Theater (2011) and at the Israel Dance Festival in Jerusalem (2012). After four years, the company reprised the show "Romper el Piso" (Break the Floor) in August 2016 in the prestigious "Maipo" Theater of Buenos Aires.
    [Show full text]