GringoPost | Ecuador: Paulo Morocho and Sixto Gallegos, guests this week of the Cuenca Symphony Orchestra

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Paulo Morocho and Sixto Gallegos, guests this week of the Cuenca Symphony Orchestra

The Symphonic Orchestra of Cuenca, under the baton of maestro Michael Meissner, Principal Director, with the participation of the renowned Ecuadorian musicians Paulo Morocho, Clarinet Principal of the OSC and Sixto Gallegos, Clarinet Principal of the OSNE, presents the IX Concert of the I Season 2018, this Friday, March 16, at 8 PM and Saturday, September 17, at 11 at the Carlos Cueva Tamariz Theater. Admission is free until full capacity. This is the repertoire:

Two works for Clarinet and Corno di Bassetto - Felix Mendelssohn. The 18th century brought the clarinet and its ancestors between the ranks of the band and made it solo. To a large extent, the transformation was due to the technical improvement and the appearance of virtuous instrumentalists who demanded a repertoire appropriate to their faculties and abilities. Among the most outstanding composers for the "new" instrument were Vivaldi, Molter, Mozart, Weber, Meyerbeer, Spohr and Danzi.
Mendelssohn obeyed the suggestions of the clarinetist Baermann, so much so that he orchestrated the two works op. 113 and 114, both of three movements in small format. The inclusion of the Corno di Bassetto, one of Mozart's favorite instruments, adds fine timbral differences, although today this instrument gave way to the bass Clarinet as a fixed member of the orchestras.

Symphony No. 2 in B flat major, op. 63- Edward Elgar. Composed between 1909 and 1911. The work is dedicated to the memory of His Majesty King Edward VII. In 1905 Elgar gave a lecture at the University of Birmingham, in which he defended the non-programmatic Symphony, as the supreme development of musical art. Some composers like Strauss, Debussy or Puccini thought that the Symphony was dead, fortunately many geniuses of the 20th century proved otherwise. Two trips to Italy inspired Elgar with the central themes of his second Symphony. There he writes a melody that will give rise to the first theme of the last movement. The slow movement would represent the calm of the interior of the Cathedral of San Marcos, contrasting with the Rondó that would show the hustle and bustle outside the square. The score of the work contains some lines from Shelley's poem Invocation.

The four movements are of great construction and long duration each, from triumphant joy and gestures to the most intimate intimacy, each being a kind of symphonic poem in itself, with multiple themes and developments of them. He loves that at every moment the noble English character is distinguished, which makes the music of Elgar unmistakable, enlisting it in the greatest nationalist composers, without this it would need summonses of popular English subjects.

Although Elgar defended the purity in the Symphony (of not being programmatic), he wrote some words about his work: It represents the passionate pilgrimage of a soul ... The last movement symbolizes the final exit of his passion in noble action and the last two pages they are the apotheosis and the eternal conclusion of the pilgrimage of the soul.

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