Pianophilia

Jim Faston wrote:Here's a nice set of variations by Manuel Corral. I tracked this down a dozen or so years ago after hearing Guy Bovet's recording on the organ. It was already unavailable even back then but I was lucky enough to be able to borrow a copy through interlibrary loan.

Corral_Andante con Variaciones.pdf

Thanks a lot, Jim! Here you can hear it in pianoforte: http://www.youtube.com/watch?v=mRERWhZS3hw

Best.

Dear Jim,

Thanks for Manuel Antonio Del Corral's score, I had no idea about him.

He was born in La Rioja, Santo Domingo de la Calzada, Spain ( 1790-?). On 1809 he was sent to México as political exile , I will try to get some info.

Best regards.

ILU.

Request:
Carlos Chavez Sonata VI Audio
http://youtu.be/9AiRrz3Udks

A rarity in the web...
Carlos Chávez
Xochipilli (full score)

Moncayo
Sonata para viola y piano
Viola part & piano score
Una verdadera rareza...

lito valle wrote:A rarity in the web...
Carlos Chávez
Xochipilli (full score)

Chávez, Carlos - Xochipilli - full score.pdf

Lito:

Muchas Gracias! it is a rarity indeed!.

An interesting explanation from Chávez;

"Programme Note
Carlos Chávez Xochipilli (An Imagined Aztec Music)
There is no certainty of the style or aesthetic nature of the music of pre-Columbian civilizations. We deal with hypotheses, though these can be based on somewhat sensible considerations. At least two main genres can be distinguished: music for sacred festivities and that which accompanied poetical expressions of a deep lyrical or religious character. The latter were sung and must have corresponded to the same poetic expression of the lyrics, which fortunately have been transmitted to us, and which we admire for their deep poetic content. Being vocal music, we must surmise that it corresponded to a continuous melodic line more or less varied, although undoubtedly based on the repetition of simply musical phrases. In contrast to this lyrical expression, the music of the great sacred festivities was preponderantly rhythmical and active, meant to accompany enormous ensembles of dancers. It must have been rather tremendous music, implacable in its rhythm, strong and obstinate.

In the first and last parts of this three-part work, percussion and flutes suggest the great sacred festivities in the large squares of the teocalli, full of fervor and dread. The middle part could very well confirm the melodies of inner concentration which parallel the deep lyrical poetry.

Authentic musical quotes being impossible, Xochipilli is the result of my thoughts on topics of Mexican antiquity and of my unlimited admiration for pre-Cortesian sculpture and painting. Although referring to different arts, there is a common denominator in the various expressions of a given culture so that it is not impossible to derive from plastic arts a sensitivity that can be transcribed to music. Also, many times during my childhood I heard in the country Indian ensembles deeply rooted in the old traditions, something that is now lost, which made it possible for me to delve in the aesthetics of those cultures: sobriety, conciseness, purity and vigor.

--Carlos Chavez"

Regards,

ILU.

Obras de Blas Galindo (1910-1993)
Ilu: esperamos tus sabios aportes..

Obras de Luis Herrera de La Fuente (1916 - 2014)
conductor and composer

lito valle wrote:Obras de Blas Galindo (1910-1993)
Ilu: esperamos tus sabios aportes..

Galindo, Blas - Quinteto Para Instrumentos de Arco y Piano - Score.pdf

Galindo, Blas - Sonata Para Cello Solo.pdf

Galindo, Blas - Sonata para Cello y piano.pdf

Galindo, Blas - Suite para violín y piano.pdf

Dear Lito:
As requested, a brief overview about Blas Galindo Dimas:
(San Gabriel, 1910 - México City, 1993), Mexican Composer. He was a disciple of Carlos Chavez and Aaron Copland. He made a remarkable pedagogical work at the Conservatory of Mexico. In 1966 he co-founded the Mexican Academy of Arts. His work, influenced by the Aztec folklore, music covers to the scene, symphonic, choral and chamber
Blas Galindo's contributions to Mexican music concert are huge. He composed choral, chamber, symphonic works and ballets. He was a great defender of folklore and their parts the influence of indigenous rhythms are warned.
His work has an unmistakable nationalistic flavor in which academic music was enriched with popular and native elements. Examples of this syncretism are Sones de Mariachi (1940) and Titoco Tico (1971) for indigenous percussion instruments.
An example of his popular compositions are “Sones de Mariachi” y and “El Son de la Negra” (there are several performances in youtube).
Best regards.
ILU.

don't think these etudes by Manuel Ponce have been posted before ... vv.