GringoPost | Ecuador: Violinist, Santy Abril, and Cuenca Symphony open a full year of exquisite music

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Violinist, Santy Abril, and Cuenca Symphony open a full year of exquisite music

The Symphony Orchestra of Cuenca under the baton of the master Michael Meissner, Titular Director, and with the participation of the talented violinist, Ecuadorian Santy Abril, who has once again been invited as a soloist, presents its I Concert of the I Season 2017 on Friday the 13th of January in the Pumapungo theater at 8 PM with free admission. Santy Abril opens what will be a year full of exquisite music.

The repertoire is the Overture of the Euryanthe Opera, Opus 81, organized in Sonata form with two main themes: A brilliant introduction and festive event in which a theme of march resounds before the wind instruments expose a more peaceful and poetic motif. After this exhibition threatening chords lead to silence. At the central development, muted violins, to which violas are attached in tremolo from the seventh beat, initiate a long and mysterious sentence. Then a powerful fleeting passage flows through the other orchestral sections ultimately rturning to the festive atmosphere of the beginning. In the recapitulation, the two major themes come together in a kind of jubilant hymn. This overture is a true compositional jewel.
Concert for Violin No. 3, Opus 64. The Concert for violin and orchestra Nº 3, Opus 61, by Camille Saint-Saëns was written in March, 1880,  and dedicated to his fellow composer and virtuoso Pablo de Sarasate, who played the solo part at the premiere in October 1880. Although the third (and last) Saint-Saëns violin concert seems to be less demanding, technically in the solo part that its predecessors, its melodic invention and its impressionistic subtlety pose important interpretive challenges. This Is more noticeable in the second movement and the final chorus, which is reminiscent of the end of the Concerto for piano and orchestra No. 4.

The Jupiter Symphony was the last of the symphonies of Mozart, finished in August of 1788 but released after the death of the composer. The nickname "Jupiter" is attributed to the English businessman Salomon, who indicates with this the divine greatness of the composition, without doubt the culmination of Mozart's symphonies. The first dualistic theme begins with a vigorous figure that Mozart had previously used in a considerable number of pieces, to be answered immediately by a tender figure ascending from the violins. Two additional themes allow a constant contrapuntal game that demonstrates all the expressive ranges of the festive of the work.

Dear friends, as always, please know that everyone is cordially invited.

Ana Dávila Vázquez, mgr, Public Relations, Cuenca Symphony Orchestra

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