GringoPost | Ecuador: Cuenca Symphony, two beautiful concerts this week

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Cuenca Symphony, two beautiful concerts this week

The Symphony Orchestra of Cuenca, under the baton of the maestro Michael Meissner, Principal Director, presents two beautiful concerts this week that feature the participation of the outstanding clarinetist Lojano, First Clarinet of the Cuenca Symphony Orchestra, Paulo Morocho Guamo. This Thursday 18 at 8 PM in the Sucre theater in the framework of the "Week of Germany" of the Directorate of International Relations and Cooperation of the Mayor of Cuenca, and Friday 19 at the Old Cathedral. Illustrious citizen Dr. Juventino Vélez Ontaneda. Admission to both concerts is free until this is completed. This is the repertoire:

Auroral, country scene-Salvador Bustamante Celi. It is a symphonic poem of imitative music and manners, which is described in the form of the environment 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 activities 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 the roosters, then the meeting of the troops, fortunately without major war elements in the score, and finally, Andean songs of victory and the final triumph.

Concerto for clarinet and orchestra in the mayor's office, K.V. 622-Wolfgang A. Mozart. Mozart It is the perfection and transparency of a sublime creation. It premiered on October 16, 1791, a month and a half before the death of Mozart. It was composed in Vienna in 1791 for the clarinetist Anton Stadler, great friend and freemason brother of Mozart. Unlike all other Mozart concerts, this is not intended for the soloist in his first movement, yes in the Adagio. The third movement, Rondó, is a good example of how the composer contrasts various moods, capturing the happy character of the clarinet and exploiting, once again, the virtuosity of the clarinetist. Despite being a written movement within the parameters of classicism, this last part of the concert is full of sensitivity, anticipating the intentionality of music from later eras. If it were not for the Requiem, this work would be, due to its unquestionable perfection and transparency, Mozart's musical testament.

Symphony No. 4, in Si Bemol Mayor, op. 60 - Ludwig van Beethoven. It is an absolute masterpiece. It arises from a powerful constructive vigor, and it is all locked by motives and cells that speak of a master in the art of development. It demands an implacable virtuosity from the orchestra, and the nuances of agógica and dynamics are not only expressive, but functional and architectural. In short, it is a precise and forceful sound object that covers the old times, the best times, the grace and the new a great amount of technical resources previously unknown or not sufficiently exploited. The slow introduction is a wonder prodigy without stress, without personal confessions. The modulatory wisdom, the perfect set of timbres, the feeling of inexorable marching forward has no more comparison than in the very later chamber music works. Especially beautiful is the central Adagio, that "imperturbable song of pure harmony" as Berlioz said. The balance between construction and lyricism, between "the wise" and "the cordial", between reason and feeling is perhaps its most marvelous quality. The menu, Allegro vivace is very original, shining with the mysterious alternatives between wood (ascending) and rope (descendants), between the ternary vigor of the beginning and the less vigorous changes in the final results in something that, well interpreted, does not It is never forgotten. The final movement is even more direct, more exultant. Victorious without subjugation, gladly lyrical in the midst of a storm of semicorcheas that barely rests, allows us to reach the end in the throat and in the pleasant, as seldom in the symphonic of Beethoven.

We always give them special reasons to be with us, so you already know all cordially invited.

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