GringoPost | Ecuador: The Symphony Orchestra of Cuenca in Cañar and Pumapungo this week

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The Symphony Orchestra of Cuenca in Cañar and Pumapungo this week

The Symphony Orchestra of Cuenca, under the baton of maestro Michael Meissner, Principal, with the participation as soloist of the cellist, Mateo Celi, member of the OSC, presents the II Concert of the I Season 2018, this Thursday, January 18 in the church Matriz de Cañar and on Friday, January 19, at the Pumapungo theater. The two concerts are at 8 PM. Admission is free until full capacity.

This is the repertoire:

Auroral, Country Scene - Salvador Bustamante Celi. It is a symphonic poem of imitative music and of customary intention, since it describes in a certain way the atmosphere around the battle of Pichincha. Composed in 1922 for the centenary of the battle, Auroral is a unique work of its kind, but can be seen in the context of other patriotic compositions such as the Ecuadorian Warrior Hymn, composed by Bustamante Celi in 1910, when he had to flee from Lima to Guayaquil due to the war between Peru and Ecuador, as well as the hymns dedicated to Valdivieso, García Moreno and Montalvo. As the title Auroral suggests, you can hear the song of the birds and roosters, then the meeting of the troops, fortunately without more warlike elements in the score, and finally, Andean songs of victory and the triumphal end.

Concert for Chelo N ° 1 in La Menor, Op. 33- Camille Saint-Saëns. Its premiere was an important point in establishing the reputation of Saint-Saëns as a composer, especially considering that the Paris Conservatory only performed works by recognized composers (old or dead). The concert was well received from the beginning. Sir Donald Francis Tovey wrote "Here, for once, we found a concert for cello in which the solo instrument shows all its record without the slightest difficulty in penetrating the orchestra." Some composers, including Shostakovich and Rachmaninoff, considered this concert as the best of all.

Symphony No. 2 in C Major, Op. 61-Robert Schumann. With this work the composer overcame a severe creative crisis and health that lasted two years. Schumann himself commented: "I outlined it when I was still physically suffering, I can even say that it is almost the resistance of the spirit that visibly influenced here and with which I tried to combat my state. The first movement is full of this struggle and has a capricious, rebellious character. "Also, his studies of Bach's music influenced the composition, beyond the theme of the musical offering with which he opens the third movement. The Finale includes the Beethoven song Nimm sie hin, denn, diese Lieder (Receive, then, these songs) an allusion to his delicate relationship with his wife Clara. The symphony is full of thematic connections, from the initial theme of metals, which reappears in the Coda del Scherzo and in the development of the Finale. The composition lasted one year, from December 1845 to November 1846. It was premiered by the Orchestra of the Gewandhaus in Leipzig on November 5, 1846, under the direction of Felix Mendelssohn, who was a tireless promoter of Schumann's music. After the premiere, the composer reviewed the score and made substantial changes in the orchestration of his work, including among them the addition of three trombones that did not appear in the first version. The new version was played eleven days after the premiere, with the same director and the same orchestra.

Dear Friends, we always give you special reasons to be with us, so all of you may know all of us.

Lcda. Ana Dávila Vázquez, Manager, Cuenca Symphony Orchestra