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Cuenca Symphony concert in tribute to the Museo de las Conceptas

The Symphony Orchestra of Cuenca under the baton of maestro Michael Meissner, Principal Conductor, presents the VIII Concert of the II Season 2016, in tribute to the Museum de las Conceptas which for 30 years has allowed citizens to visit, to observe, to know the life of the cloistered nuns of the community of the Immaculate Conception. It is the most important religious reserve in the city and is currently a model in the application of protocols and security measures for the preservation and conservation of the pieces.

This event will be held on Friday, November 18 in the Old Cathedral Church at 8 PM with free admission.

The repertoire that the attendees will enjoy is:

Symphony number 1 In E Major, Opus 25, "Classic" by Sergei Prokófiev. This classic Symphony takes forms, melodies, sentence structures and rhythms typical of classicism and twists them in a humorous and at the same time funny way. We can "hear" an original hypothetical version of the music lurking beneath the surface. In other words, it is as if we could eliminate the genius and discover a true classical symphony. Prokofiev's son once noted that his father first wrote music and then "prokofievized". Indeed, it is possible to imagine that such a process of composition would produce the Classic Symphony.

Prelude to the Afternoon of a Faun. The Prelude to a Faun's Nap is a symphonic poem by Claude Debussy. Released in Paris in December 1894. The work is inspired by the poem of the symbolist poet Stéphane Mallarmé. It is one of the best known works of its author and is considered a crucial work in the development of Impressionist aesthetics. The sensuality and visual power of the work were expressed in the it choreography of 1912 by Vaslav Nijinsky and presented by the Russian Ballets of Serge Diaghilev, causing some scandal by the masturbatory gestures of the faun.

Symphony number 4 Opus 90, "Italian." The Italian Symphony of Mendelssohn surprises by the transparency of the orchestration and by the delicious simplicity of its melodic set, characteristics that became model for the future romantic composers. In spite of this, the composer never felt completely satisfied with this work and reviewed the score with some frequency, totally modifying the first movement. However, the official edition of the work, published in 1851, four years after the death of the musician, follows the original score, so there is no choice but to admit that the revised work was lost.

Dear friends, please know that everyone is cordially invited.

Ana Dávila Vázquez
Public Relations, Symphony Orchestra of Cuenca