Entrances for sale for the concert of Latin American Music


Thursday 13 of May, to 21,30, the Symphony orchestra of Jumps under the direction of the teacher Jorge Lhez, will offer a imperdible concert of Latin American music. The appointment is in the Provincial Theater of Jumps and the entrances already are on sale in Ticket office (Zuviría 70).



One will interpret Gypsy Airs, of the Spanish composer Pablo Sarasate, India Symphony, of Mexican the Carlos Chávez, Bachianas Brazilian Nº 2, of the Brazilian Heitor Villa - Wolves and Santa Cruz de Pacaraigua, of the Castilian Evencio Venezuelan.

The young person and recognized violinista Stepan Grytsay will participate like soloist.

The entrances have a value of: It silverplates $20 and $16, Theater box $30, Pullman and Súper Pullman $10.

One remembers that pensioners, disabled and students can accede to a 50 percent of discount in the value of the entrances crediting properly, in ticket office, their quality of such with the corresponding instruments (membership cards, certainties of students, etc). This discount get ready by means of Resolution Nº 84 - 09 of the Institute of Music and Dance, which also runs for the rest of the artistic bodies of the Institute.

This resolution on the other hand, promotes the subscription in particular agreements with institutions official or deprived properly credited and representative of disabled pensioners, students or, in order to allow the gratuitous access more to the needed sectors.

On works

India symphony
Carlos Chávez (Worn of Tacuba, 1899 - City of Mexico, 1978)

Carlos Chávez is surely the most significant Mexican musician, the most known outside the borders its country and the one that naturalization paper gave to a creation that simultaneously reunited to own characters and outer yearning of projection. Lamentably its work arrives to us with little frequency, reason why the Symphony orchestra of Jumps with a deep commitment in giving to meet new authors and to increase its contemporary and Latin American repertoire, presents/displays in opening one of its better scores, of also the most known, the brief but intense India Symphony, second of the six that composed.

The Indian Symphony has like spine diverse originating melodies of the Indians yaquis and seris of Sonant, as well as of huicholes nayaritas. But not only the melodies of these groups are present, but also their instruments, that find their place in the middle of a rich and colorful orquestration whose invoice is impressive as far as its rythmical preparation and cohesion of the indigenous subjects.

The idea to write this work came to him to Chávez at the time of being invited for a series of wireless concerts with the Orchestra of the CBS. The composer put hands to the work by the end of 1935 to finish to the score months later and to release it in the city of New York, the 23 of January of 1936, under his direction.

Bachianas Brazilian N° 2
Heitor Villa-Wolf (Rio de Janeiro, 1887 - Rio de Janeiro, 1959)

In June of 1930 Villa-Wolf it returned to Brazil after to have spent seven years in Paris, where there was been in contact with the musical and artistic vanguards.

The music of Bach had fascinated to Villa-Wolf from its childhood and it always considered an inheritance universal, a species of brilliant folklore. Also it saw certain stylistic parallelisms between Bach and some types of melodies and textures of the Brazilian folklore.

The result of this fusion Bachianas Brasileiras composed between 1930 and 1945 was the 9.

Nº 2 was composed in 1930 and dot four emblems of Brazil of youth of Villa-Wolf.

Or Song do Capadócio/the Song of the farmer portrays the typical unemployed and indolent worker.

Or Song gives to Nossa Terra/the Song of our earth is a Modinha or song of sentimental love.

Lembrança do Sertao/Memory of the desert recreates the popular atmosphere of dry territories of the northeast of Brazil.

Or Tremzinho do Caipira/the trenecito of Caipira describes with great I devise an old steam locomotive.

The work was released the 5 of September of 1938 in Venice, during the Festival the International of Music, under the direction of the important Italian composer Alfredo Casella (1883-1947).

Santa Cruz de Pacaraigua
Evencio Castilian (Cúa, 1915-Caracas, 1984)

Santa Cruz de Pacairagua is a fundamental stone of the Latin American sonorous building, her author, Evencio Castilian, member of one long ancestry of interpreters and composers, has been, without a doubt, one of the great impellers of the Venezuelan music of Century XX from a language preservative, but nonfree of subtle refinement, expressions and suggestions that timidly abren the windows towards a certain modernity.

In 1954, Santa Cruz de Pacairigua writes the orchestral suite, like tribute to the small locality of Guatire, where the kindness of her people, her spirited spirit and the collective construction of the church of the town, in which all neighbors participated, animated Castilian describing something more than a colorful costumbrista picture, whom to him the National Prize would be worth of Music of 1955, award that would receive twice more in its race.

The suite is conceived in three parts that form a route or, rather, an incursion, as much in the landscape as in the character of its inhabitants. The initial Allegro evokes the row of the popular celebration of San Pedro, that begins by an appearance of rates and dances carried out by the black of the place, to the control of the main dancer, disguised of Maria Ignacia, typical personage of the local culture.

After an insistent transforming imitation of the native rates, the bells intone the sounds of the cords to the air of the four, small peculiar guitar of the zone. The movement is solved in a species of vals, under the drawing of the Soft song sigh, of Hernandez of Leon.

The central section begins again with the black rates, using certain elements of the celebrations of San Juan, Salve and the procession of the Corpus, where Lauda Sion like a Cantus is listened to the cornos clearly touching firmus until finishing in a festive atmosphere, of tone and especially nationalistic color.

In the final allegro the black retire to dance on the fire, according to his rites and everything it converges in a species of frenetic catharsis where religious elements and rates coming from archaic cultures occur to appointment.

 
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