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MarttiT escribió:
Esta ópera, Neither, la podremos ver en Madrid el próximo junio dentro del Festival Operadhoy.


:D



El Oedipe fue un exitazo en el festival Enescu de Bucarest este verano. Ojalá se instale en el repertorio. Yo tengo pendiente la grabación de Van Dam, a ver si la escucho. Gracias, Zelenka.


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Luigi Rossi (1598—1653) He was born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples and at an early age he went to Naples. There he studied music with the Franco-Flemish composer Jean de Macque who was organist of the Santa Casa dell’Annunziata and maestro di cappella to the Spanish viceroy. Rossi later entered the service of the Caetanis, dukes of Traetta. Luigi Rossi composed just two operas: Il Palazzo Incantato, which was given at Rome in 1642; and Orfeo, written after he was invited by Cardinal Mazarin in 1646 to go to Paris for that purpose, and given its premiere there in 1647. Rossi returned to France in 1648 hoping to write another opera, but no production was possible because the court had sought refuge outside Paris. Rossi returned to Rome by 1650 and never attempted anything more for the stage. A collection of cantatas published in 1646 describes him as musician to Cardinal Antonio Barberini, and Giacomo Antonio Perti in 1688 speaks of him along with Carissimi and Cesti as the three greatest lights of our profession. Rossi is noteworthy principally for his chamber-cantatas, which are among the finest that the 17th century produced. A large quantity are in manuscripts in the British Library and in Christ Church Library, Oxford. La Gelosia, printed by F.A. Gevaert in Les Gloires d'Italie, is an admirable specimen. He left about 300 cantatas in total.

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Orfeo, tragicomedia en música en un prólogo y tres actos (1647). Fragmento del acto segundo.

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Última edición por Zelenka el 24 May 2014 21:27, editado 2 veces en total

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Francis Jean Marcel Poulenc (1899–1963) Poulenc was born in Paris into a wealthy family of pharmaceutical magnates. The agrochemical giant Rhone-Poulenc is the present-day corporation started by his forebears. His mother was a talented amateur pianist who began giving him piano lessons at age five. Later Poulenc studied with a niece of César Franck, and then with the eminent Spanish virtuoso Ricardo Viñes, for whom he would later write music. At age eighteen, Poulenc wrote Rapsodie Nègre for baritone and chamber ensemble, which made him an overnight sensation in France. The young composer served in the military during the years 1918-1921, during which time he composed the popular Trois Mouvements Perpétuels (1918). By 1920, Les Six -- Georges Auric, Arthur Honegger, Darius Milhaud, Germaine Tailleferre (the sextet's lone female representative), Louis Durey, and Francis Poulenc -- had begun making its impression on the music world. In 1923, Poulenc wrote the ballet Les Biches, which Diaghilev staged the following year with great success, the public finding its mixture of lightness, gaiety, and occasional moments of sentimentality irresistible. Poulenc continued writing at a fairly prolific pace in the late 1920s and early 1930s, producing many piano compositions, songs and other works.

During the war, Poulenc remained in German-occupied France, writing music of an antiwar or defiantly anti-Nazi bent, sometimes writing songs on texts by banned authors, such as Lorca. He also wrote a ballet Les Animaux Modèles (1940-1941), Sonata for violin and piano (1942-1943; rev. 1949) dedicated to Lorca, and the masterful Figure Humaine (1943), a choral cantata which is a hymn to freedom. In the postwar years, Poulenc turned out his Sinfonietta (1947) and Piano Concerto (1949), both not entirely successful. In the period 1953-1956, Poulenc produced his most ambitious work, the opera Dialogue of The Carmelites, considered by many the greatest French opera of the twentieth century. Poulenc finished his last opera in 1958, La Voix Humaine, a work whose lone character talks (sings) on the phone to her deserting lover for the work's 45-minute length. Poulenc's last major work was his Sonata for Oboe and Piano in 1962, dedicated to the memory of Prokofiev, whom he had befriended in the 1920s. Poulenc died suddenly of a heart attack.

Poulenc was one of the first openly gay composers. His first serious relationship was with painter Richard Chanlaire to whom he dedicated his Concert champêtre: You have changed my life, you are the sunshine of my thirty years, a reason for living and working. He also once said, You know that I am as sincere in my faith, without any messianic screamings, as I am in my Parisian sexuality. Poulenc also had a number of relationships with women. He fathered a daughter, Marie-Ange, although he never formally admitted that he was indeed her father. He was also a very close friend of the singer Pierre Bernac for whom he wrote many songs; some sources have hinted that this long friendship had sexual undertones; however, the now-published correspondence between the two men strongly suggests that this was not the case.

Poulenc was profoundly affected by the death of friends. First came the death of the young woman he had hoped to marry, Raymonde Linossier. While Poulenc admitted to having no sexual interest in Linossier, they had been lifelong friends. Then, in 1923 he was "unable to do anything" for two days after the death from typhoid fever of his twenty year old friend, novelist Raymond Radiguet. However, two weeks later he had moved on, joking to Sergei Diaghilev at the rehearsals he was unable to leave, about helping a dancer "warm up". In 1936, Poulenc was profoundly affected by the death of another composer, Pierre-Octave Ferroud, who was decapitated in an automobile accident in Hungary. This led him to his first visit to the shrine of the Black Virgin of Rocamadour. Here, before the statue of the Madonna with a young child on her lap, Poulenc experienced a life-changing transformation. Thereafter his work took on more religious themes, beginning with the Litanies à la vierge noire (1936). In 1949, Poulenc experienced the death of another friend, the artist Christian Bérard, for whom he composed his Stabat Mater (1950). Other sacred works from this period include the Mass in G (1937), Gloria (1959), and Sept répons des ténèbres (1961–2).

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Les mamelles de Tirésias, ópera bufa en dos actos y un prólogo (1947). Comienzo.

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Última edición por Zelenka el 24 May 2014 21:28, editado 2 veces en total

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El prólogo de las Mamelles es una gozada. Gracias!!!

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Estoy escuchando fragmentos en Youtube de Juha, de Aarre Merikanto, y me está gustando. He leído un poco lo publicado sobre el compositor. Alguien la tiene? Qué os parece?

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Hace como agno y medio apareció en este hilo. :roll: Merikanto tiene dos estilos, uno expresionista y uno posterior mas romántico. El interesante y el que más me gusta es el primero y Juha está mas o menos por ahí.


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Anton Stepanovich Arensky (Russian: Антон Степанович Аренский) (1861-1906) He was born in Novgorod, Russia, to a pair of devoted amateur musicians under whose guidance he began his training. After private studies (piano and composition) with Zikke in St. Petersburg, Arensky entered that city's conservatory in 1879, taking lessons from Rimsky-Korsakov. He scored consistently high marks with conservatory faculty during his three years as a student, eventually graduating with a gold medal; upon the completion of his studies in 1882 Arensky became one of the youngest professors ever hired by the Moscow Conservatory.

Arensky's years at Moscow were fruitful; between 1882 and his resignation from the Conservatory's faculty in 1895 he completed most of his larger works (including the early Piano Concerto of 1882 and both Symphonies: B minor 1883; A major 1889). In 1891 his first opera, Son na Volge (A Dream on the Volga) - which he had worked on intermittently since his student days - was successfully premiered in Moscow. His next operatic endeavor, however, fared rather worse than the first; Raffaello was an immediate failure at its 1894 premiere.

Asked to replace Balakirev as director of the imperial chapel in St. Petersburg, Arensky returned to his home city in 1895; save for occasional national and international tours, he remained there for the rest of his life. By the mid-1890s Arensky's somewhat diminished stature as a composer was replaced by an increased public awareness of his gifts at the keyboard and on the podium. Having served as director of the Russian Choral Society (1888 to 1895) during his Moscow days, Arensky was no stranger to the baton, and in 1901 he resigned his position at the imperial chapel to pursue a fuller schedule of conducting and performing appearances. Arensky died of tuberculosis in a Finnish sanatorium. It is alleged that drinking and gambling undermined his health.

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Raffaello, ópera en un acto (1894). Fragmento.

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Última edición por Zelenka el 24 May 2014 21:37, editado 2 veces en total

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Joonas Kokkonen (1921-1996) He was born in Iisalmi, Finland, but spent most of his life in Järvenpää at his home, which was known as "Villa Kokkonen". He served in the Finnish army during World War II with great distinction. He received his education at the University of Helsinki, and later at the Sibelius Academy, where he afterwards taught composition; his students there included Aulis Sallinen. In addition to his activities as a composer, he made a significant and powerful impact on Finnish cultural life, serving as a chairman and organizer, heading organizations such as Society of Finnish Composers, the Board of the Concert Centre, and others. His purpose was always to improve music education, as well as the status and appreciation of classical music as well as Finnish music. In the 1960s and early 1970s he won numerous prizes for his work. He was appointed to the prestigious Finnish Academy upon the death of Uuno Klami. His composition activity slowed down greatly after the death of his wife and increased alcohol consumption. He had long planned a Fifth Symphony but it died with him.

Even though he studied at the Sibelius Academy, he was mainly self-learned in composition. Usually his compositions are divided into three style periods: a neo-classical early style from 1948 to 1958, a relatively short middle period twelve-tone style from 1959 to 1966, and a late "neo-Romantic" style of free tonality which also used aspects of his earlier style periods, which began in 1967 and lasted for the rest of his life. Most of his early music is chamber music, and includes a Piano Trio and a Piano Quintet; the style is contrapuntal and influenced by Bartók, but looks back to Renaissance and Baroque models as well. In the second style period he wrote the first two of his four symphonies. Although he used twelve-tone technique, he avoided orthodoxy by occasionally using triads and octaves; he also liked to use the row melodically, giving the successive pitches in the same tone color (many other composers of 12-tone music split the row between different voices). In the third style period Kokkonen wrote the music that made him internationally famous: the last two symphonies, the ...durch einen Spiegel for twelve solo strings, the Requiem, and the opera The Last Temptations (1975) (Viimeiset kiusaukset), based on the life and death of the Finnish Revivalist preacher Paavo Ruotsalainen. The opera is punctuated with chorales which refer back to Johann Sebastian Bach, and which are also reminiscent of the African-American spirituals used for a similar purpose in Michael Tippett's oratorio A Child of Our Time. The opera was staged at the Metropolitan Opera in New York in 1983.

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Viimeiset kiusaukset, ópera en dos actos (1972-1975). Fragmento del acto primero.

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Última edición por Zelenka el 24 May 2014 21:42, editado 3 veces en total

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The opera The Last Temptations (1975) (Viimeiset kiusaukset), based on the life and death of the Finnish Revivalist preacher Paavo Ruotsalainen. The opera is punctuated with chorales which refer back to Johann Sebastian Bach, and which are also reminiscent of the African-American spirituals used for a similar purpose in Michael Tippett's oratorio A Child of Our Time. The opera was staged at the Metropolitan Opera in New York in 1983.

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Viimeiset kiusaukset (!972-75) ópera en dos actos. Fragmento del acto primero.

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Esta es la ópera que tengo yo, en esta misma versión. A modo de complementar el trabajo extraordinario de Zelenka diré que Kokkonen diseñó el papel protagonista epnsando en la voz de Martti Talvela, que fue quien estrenó la obra.

Una ópera digna de ser escuchada.


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Carl Heinrich Graun (1703-4-1759) He was born in Wahrenbrück, Germany. He was one of three musical brothers. Graun's uncle may have given him his first lessons in music; in 1714 he entered the Dresden Kreuzschule, where he sang in the choir under the direction of J.Z. Grundig and composed a significant amount of church music. In 1718 he became a student at the University of Leipzig; there he studied singing with Grundig, organ with Emanuel Benisch, keyboard with Christian Pezold, and composition with J.C. Schmidt -- then Kapellmeister of the Dresden Opera. However, it was the Dresden Opera itself that exerted the most profound influence on Graun; there he witnessed the growth in Dresden of contemporary opera seria.

In 1725, Graun was engaged as a tenor in the Brunswick Opera; two years later he was made vice-Kapellmeister and produced the first of six operas for that stage. In 1733, Crown Prince Frederick (the Great) -- who already employed Graun's older brother, Johann Gottlieb -- attempted to acquire Graun; the composer accepted after obtaining release from Brunswick in March, 1735. Until Frederick became king in 1740 Graun taught his new employer music theory, directed the chamber orchestra, and composed and performed Italian cantatas at the Prince's residence in Rheinsberg. Once Frederick acceded to the throne Graun was made Royal Kapellmeister, given an excellent salary, and immediately sent to Italy to engage singers for Frederick's new opera. On December 7, 1742, the new Royal Berlin Opera House opened with Graun's Cesare e Cleopatra.

Graun's work dominated the stage at the Berlin Opera; he composed 26 operas for the house. There were problems, however: Frederick occasionally required Graun to rewrite an aria he did not like and, in Demofoonte (1746), the king substituted an aria by Hasse for one of Graun's. Around 1745, the King demanded Graun switch from the French overture to the Italian sinfonia and he usually edited -- sometimes even wrote -- the librettos for Graun's dramas. These restrictions and interferences made the operas somewhat formulaic, but Graun still managed to weave a German sense of counterpoint into the Italianate coloratura texture, and his works are peppered with brilliant moments.

Der Tod Jesu of 1755 remained popular in Germany until the end of the nineteenth century, due primarily to its excellent da capo arias. Because of their expressive chromatic inflections and nervous rhythms, the recitatives are often described as deriving from the Empfindsamer Stil of the mid-eighteenth century. Graun was at the leading edge of developments in the da capo aria, many of which incorporate aspects of instrumental composition, particularly rudimentary sonata form. For example, instead of maintaining the same key through the principle section of the aria, Graun often sets the latter part of the section in a secondary key. During the return of this music, however, the material initially in the secondary key is transposed to the tonic. Occasionally Graun eliminated the return to the first section of the aria, instead writing a shorter aria type called a cavatina. One example is his Godi l'amabile, from Montezuma. In this case, the modification was made at the request of Frederick the Great, who had written the libretto.

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Cleopatra e Cesare, ópera en tres actos (1742). Aria del primer acto Strappare al nemico. Aria del tercer acto Voglio strage, e sangue voglio.

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Última edición por Zelenka el 24 May 2014 21:44, editado 2 veces en total

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Max Brand (1896-1980). He was born in Lwów, in the northern region of the multinational Austro-Hungarian empire. A contemporary of Arnold Schoenberg, Alban Berg, Kurt Weill and Ernst Krenek, Max Brand completed his compositional studies under Franz Schreker in Vienna and Berlin. Against the background of futurism with its celebration of speed, technological innovation and revolution (and working against currents of communism and anti-semitism), he wrote his first pieces under the influence of Schoenberg's circle. In 1927 Fritz Lang directed Metropolis, Al Jolson appeared as The jazz singer in the first sound film, and Walter Ruttman created his cinematic work, Berlin: the symphony of a great city. Brand's quest for a truly "modern opera", which would make use of these and similar 1920's technology and intellectual trends in music and theater production, resulted in his greatest success: Hopkins the machinist, a machine-opera which featured dramatic, cinematic staging and also offered its audience a moral lesson, was a musical admixture of late-romantic operatic impressions, machine sounds, and jazz, and enjoyed tremendous success in Germany. Upon his emigration to Prague, Brand's cultural involvement in Vienna - including the ballet-mime theater, productions for the vienna opera and the Raimund theater - had to be abandoned. The majority of his early works were left behind in Prague when he set off for the United States. While his stay in Brazil brought about collaborations with Heitor Villa-Lobos, his musical work in New York from the 1950s onward was characterized by lack of success.

In 1959 brand, then over 60 years old, turned in a completely new direction which was at the same time was consistent with his earlier concepts: in order to create electronic music, he had Robert Moog, then at the beginning of his career, build a special synthesizer, a prototype of the moog series which later became ubiquitous in the world of pop music. the resulting works - Notturno brasileiro (1959), Die Astronauten (1962), and Ilian 4 (1974) - failed to achieve success, and today they are rarely performed and recorded and are unavailable. In 1973 Brand turned from settings for orchestra to the reduced effectiveness of a one-man sound studio, in which he alone handled all of the functions of sound creation, production, mixing, reproduction and archiving. Independent of scores and performance, he attempted to free himself from the material conditions of music production, without however giving up his personal goal of creating works which may be presented in live performance. In 1975, the patriarch, who was in many matters conservative, fled the "american way of life" and returned to Europe. Most of his sound equipment was destroyed en route, and this precluded his continuing to work in the area of electro-acoustics for at least a year. Before his death in 1980, many tapes of sound material were reworked, mixed together, or destroyed.

In 1926, in the magazine "Anbruch" Max Brand wrote, new prospects for the future exist solely in the possibility of being able to reproduce works regardless of whether they can be performed today, and independently of imprecision and human inadequacy. we already have an idea of the importance that these machines must take on when we consider their superiority in terms of practicability and versatility in the realization of works in the future.

Whether we want to or not, we live in an era of electronic technology - the legitimate heir of the previous age. And it is this 'continuum', which is like the 'continuum' of electronic vibrations, which has made me devote myself to exclusively electronic music for many years now. For it is these vibrations (insofar as they are not used for the transmission of news) in which traditional music is conceived and which speak to us in their own unmistakable sounds. Goethe, who began Faust with "the sun sounds its tune of old" and not with "the sun shines", was surely aware of these cosmic sounds!

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Maschinist Hopkins, ópera en un preludio y tres actos (doce cuadros) (1929). Comienzo.

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Última edición por Zelenka el 24 May 2014 21:46, editado 2 veces en total

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Antoine Mariotte (1875-1944) He was born in Avignon. After studies at the School of Saint-Michel in Saint-Étienne, he entered naval school aged 15. In 1894, while serving on the frigate Iphigénie, he wrote to a friend that he missed music and if he had the means he would go to the Conservatoire. While still split between the life of a sailor and musician, he worked away on harmony. He took part in campaigns onboard the Forfait in the China Seas, then on the Vinh-Long, where he witnessed the closing stages of the sino-japonese war. He brought back sketches which became a suite Kakimonos, initially written for the piano, but later orchestrated and performed at the Concerts Poulet. In the Far East he read the Oscar Wilde play Salome, and decided to set it to music. On return to Europe, he sailed on the Marceau then the Magenta where finally, thanks to the Admiral Gervais, he had a piano. On six months leave he followed a course at the Conservatoire by Charles-Marie Widor. After prolonging his absence, he resigned from the navy in 1897. He entered the Schola Cantorum where he was taught by Vincent d'Indy who found him work as a pianist at the home of the comte de Chambrun, to whom he played each day for preceisely 60 minutes, in particular the 32 sonatas of Beethoven in chronological order.

Due to his mother's health, he went back to Saint-Etienne and taught piano, and became an organist, also directing the symphonic society; he also wrote an operette Armande. Appointed professor of piano at the Lyon Conservatoire he completed the score of Salomé, believing himself to have the permission from Wilde's estate and the publisher Methuen. In fact, having obtained the agreement to use the play, Richard Strauss had in turn asked his publisher Fürstner to acquire the rights. Wilde's particularly complicated estate led to a court case which favoured the rights of Fürstner. Mariotte learnt that Fürstner would oppose the production of a "Salomé française" and after going to Berlin, he obtained permission to have his piece staged, on condition that 40% royalties went to Richard Strauss and 10% to Fürstner, with all scores to be sent after the run to Fürstner to be destroyed. Romain Rolland, having read an article by Mariotte in the Revue internationale de musique, helped him to obtain a more generous settlement from Strauss. On 30 October 1908, Mariotte's opera was produced at the Grand-Théâtre de Lyon with success (de Wailly in the title role), and staged in 1910 at the Gaîté-Lyrique in Paris, while Salomé by Strauss was on at the Opéra. After having been performed at Nancy, Havre, Marseille, Geneva, and Prague, Salomé by Mariotte was seen at the Opéra on 1 July 1919 with Lucienne Bréval.

During the war Mariotte was sent to Salonica where he contracted malaria. After the end of the war, in 1920 he became director of the Conservatoire d'Orléans where he taught René Berthelot, who succeeded him. He led the direction of the Opéra-Comique from 1936 to 1939. Mariotte's works use a wide range of operatic effects with particularly striking choral writing. He displayed a robust temperament in both tragedy and lighter music. On 28 February 1913 he presented in Lyon a tragédie lyrique, Le Vieux Roi on a libretto by Rémy de Gourmont, which, despite a successful launch, failed after its third performance. Nele Dooryn, is an opéra comique given performances in 1940, Léontine sœurs, a comédie musicale played at the Théatre Trianon in 1924. Esther, princesse d'Israêl, a three-act tragédie lyrique after André Dumas and Sébastien-Charles Leconte was created at the Opéra on 28 April 1925, Gargantua ('scenes rabelaisiennes' in 4 acts) was seen at the Opéra Comique on 15 February 1935 and revived in 1938. In 1930 he wrote a Cantate pour le centenaire de la Conquête de l'Algérie played with enthusiasm in Algiers. In 1934 came the symphonic version of Impressions Urbaines, five pieces for piano (Usines, Faubourgs, Guingettes, Decombres, Gares) premiered by Édouard Risler in 1921, which depict the hard human and physical nature of Paris in expressive and sometimes violent means. There was also a Paysage Maritime — a "sketch for harp and orchestra", part of an unfinished sea symphony, a sonata for piano and some songs.

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Salomé, tragedia lírica en un acto (1908). Final.

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Última edición por Zelenka el 24 May 2014 21:48, editado 2 veces en total

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Joaquín Rodrigo (1901-1999) Nace en Sagunto el día de Santa Cecilia, patrona de la Música. A los tres años de edad, pierde la vista como consecuencia de una epidemia de difteria. A los ocho años inicia, en Valencia, los estudios musicales de solfeo, violín y piano. Después, armonía y composición con los maestros Francisco Antich, Enrique Gomá y Eduardo Chavarri. Sus primeras composiciones datan de 1923. En 1927, se traslada a París e ingresa en la Escuela Normal de Música para estudiar composición con Paul Dukas, quien demuestra una especial predilección hacia su discípulo. Pronto se da a conocer como pianista y compositor en los ambientes musicales parisinos y entabla amistad con Ravel, Milhaud, Honneger, Stravinski y Manuel de Falla. En 1933 contrae matrimonio con la pianista turca Victoria Kamhi, quien es desde entonces hasta su fallecimiento compañera inseparable y su más asidua colaboradora. En 1940 tiene lugar en Barcelona el estreno mundial del Concierto de Aranjuez para guitarra y orquesta, primera de sus obras que le daría fama universal y claro ejemplo de su personalidad. Rodrigo se mantiene fiel a una estética que él mismo gustaba denominar neocasticismo, practicando la tradición tonal, el gusto por las formas clásicas e incorporando elementos cultos como forma de unión entre la tradición española y el presente, creando ese estilo reconocible de inmediato. Conoce las más modernas estéticas europeas, pero afirma su propia personalidad.

La música de Joaquín Rodrigo representa un homenaje a las distintas culturas de España ya que se vale, como fuente de inspiración, de las más variadas manifestaciones del alma de su país, desde la historia de la España romana hasta los textos de los poetas contemporáneos. Ha enriquecido todos los géneros, pero quizás sea el compositor de nuestro siglo a quien más debe la estética del concierto. Ha cultivado especialmente la canción, a la que ha dado un lenguaje nuevo y universal, creando obras maestras como Cántico de la esposa o los Cuatro madrigales amatorios. Sus obras para piano solo bastarían para situarlo en primera línea, pero además su creación instrumental abarca importantes composiciones para violín, cello, y flauta. Hay que destacar además la aportación de Joaquín Rodrigo al repertorio para guitarra, que ha sido definitiva, pues ha logrado su dignificación e internacionalización como instrumento de concierto. Desde el año 1940 las distinciones, honores, homenajes y Festivales se han venido sucediendo ininterrumpidamente. Miembro numerario de la Real Academia de Bellas Artes de San Fernando (1950) y de otras academias, así como Doctor Honoris Causa por diversas universidades de España y del Extranjero, recibió, entre otros galardones, la Gran Cruz de la Orden de Alfonso X el Sabio (1953), la Legión de Honor concedida por el Gobierno francés (1963), la Gran Cruz del Mérito Civil (1966) el Premio de la Fundación Guerrero (1990), y el Premio Príncipe de Asturias de las Artes (1996). En 1991 el Rey Juan Carlos I le otorgó el título nobiliario de Marqués de los Jardines de Aranjuez por su extraordinaria contribución a la música española a la que ha aportado nuevos impulsos para una proyección universal.

Fundación Victoria y Joaquín Rodrigo

El hijo fingido, comedia lírica (1955-1960). Fragmento.

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Última edición por Zelenka el 24 May 2014 21:49, editado 2 veces en total

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Franz Hummel (*1939) He was born in Altmannstein, Germany. From his youth, Hummel was interested in music and, in particular, the works of Richard Strauss, Eugen Papst and Hans Knappertsbusch. In Munich and Salzburg he studied both composition and piano. He became a virtuoso pianist and travelled across Europe performing, and making 60 recordings of, much of the standard repertoire of classical, romantic and contemporary piano music before. In the 1970s he ceased to publicly perform as a pianist choosing, instead, to concentrate on composition. Since then his operas, symphonies, ballets, concerti and chamber works have been performed, many times, in even the most renowned concert halls and opera houses of Europe. His musical Ludwig II. - Sehnsucht nach dem Paradies was premiered at the Festspielhaus Neuschwanstein in Füssen 2000. Then, in 2001, he began to perform again as a pianist and gave a concert with the Russian violinist Liane Issakadse and the world-famous clarinetist Giora Feidman at Carnegie Hall in New York. After this he began work on a follow-up piece to Ludwig II. about Richard Wagner. He has also written a third musical, more popular in style, first performed in spring of 2008.

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An der schönen blauen Donau, ópera de cámara (1993). Comienzo.

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Última edición por Zelenka el 24 May 2014 21:51, editado 2 veces en total

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Lamento no poder continuar con el hilo, pero el Goear me dice siempre lo mismo. :?

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El upload estara cerrado durante unos minutos, disculpe las molestias


lo de menos es irse a otro servidor, pero en el Goear los archivos no se borran o por lo menos todos los que he subido ahí siguen. :roll:


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