GringoPost | Ecuador: Alex Alarcón again with the Basque Symphony Orchestra

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Alex Alarcón again with the Basque Symphony Orchestra

The Symphonic Orchestra of Cuenca, under the baton of maestro Michael Meissner, Principal Director, presents the concert for this week that features the participation of the outstanding Ecuadorian pianist, Alex Alarcón Fabre. Friday, November 9, at 8 PM at the Carlos Cueva Tamariz theater. Admission is free until full capacity. This is the repertoire:

Ecuadorian Fantasy. Corsino Durán Carrión, violinist and Ecuadorian composer, born in Santa Isabel-Azuay in 1911. He moved to Quito in 1932 and studied at the National Superior Conservatory of Quito thanks to a scholarship granted by Sixto María Durán. In this institution he was a student of outstanding pedagogical musicians. In the second half of the 30s he led a campaign to found a Conservatory in the city of Cuenca, achieving its goal. He was a very capable, outstanding and restless musician. He had a great political-cultural activity that cost him two expulsions from the Conservatory, from which he later became professor and Rector. In 1942 he founded the Ecuadorian Syndicate of Artists Musicians (SEDAM). The objective of this guild was to fight for the claim of the rights of the musician. Durán was the fundamental pillar for the creation of the National Symphony Orchestra of Ecuador. Nationalist academic musician who developed a compositional style with approaches to the renewal of Ecuadorian music. His work is characterized by the painstaking treatment he gave his musical compositions, whose bill is highly elaborated.

Michael Meissner, who edited this important work of the Ecuadorian pentagram tells us: "The work, Ecuadoran Fantasy is an unfinished work, the editor had to add a forceful ending (taken from the same work), as well as worked in the dynamics, completed the part of the percussions and corrected a few errors in the notes. However, he believes that the work shows Durán's masterful harmonic handling, which elevates the melodies of folkloric style to a high-value symphonic poem that encompasses a wide range of Ecuadorian nationalist sentiment, from melancholic moments to the festive. "

Concert Fantasy in G minor for piano and orchestra No. 2. Luis Humberto Salgado. This concert was composed in two-piano version in 1948, and won the first place in the II National Music Contest organized by the House of Ecuadorian Culture. Regarding the contest, the following is mentioned: "the work that truly won an ovation and to which the jury had awarded the first prize was the Concerto for piano and orchestra by Professor Luis H. Salgado, it is a work of nationalist and technical spirit modern that was played on two pianos and revealed to the public the great possibilities of our national music. " The composer was in charge of the performance together with his brother Gustavo Salgado.
Like the Piano Concerto No. 1, the Concierto Fantasía in Gl minor is written in a single movement, with the compositional characteristic of the works of the 40s of the last century, where it makes an approach to the vernacular rhythms and the pentafonía, using fantasy as a formal resource to develop Ecuadorian genres. The concerto begins with a pentaphonic theme in the cellos and clarinet, where it is linked to some cadenzas of the piano, to finally develop a dialogue between the orchestra and the soloist, which evolves throughout the concert through Moderato, Allegretto (Albazo), Larguetto and the Allegro (San Juanito). Alex Alarcón Fabre. Quito, November 2018

Symphony No. 8 in F Major, op. 9. Ludwig van Beethoven. This symphony, which Beethoven called small to distinguish it from the preceding one, the great Seventh, was judged by Wagner with the following comment: "Never has any art in the world created such a serene work ... Its hearing is the liberation of all sin". A fundamental part of this symphony is a characteristic element of romantic art, humor. This humor manifests itself in many forms and in many places during the symphony: a certain disproportion between themes and developments, modulations, pauses and abrupt dynamic changes, the absence of a slow movement, a long list of subtle musical humor, a festival of musical criticism for connoisseurs. For less connoisseurs perhaps other Beethovenian elements are missing: the pathetic, heroic, dramatic, desolate and grandiose, but there was always this humorous facet in the life and work of Beethoven, which in this symphony is almost omnipresent.
Beethoven dedicated this symphony to his friend Johann Nepomuk Mälzel, inventor of the metronome, of which he made a funny apology in the second movement, the spicy Allegretto. For the Allgemeine Zeitung, this Andante is the true coronation of modern music, and, according to Berlioz, "one of the most delicious things that exist in music". The first movement, Allegro vivace e con brio is full of formal surprises and an almost insolent dynamism. The Minuet could remember the meeting of peasants of the Pastoral; As for the finale, where we sometimes find the echo of a Hungarian theme, this movement is in itself more developed than the first three parts.

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