GringoPost | Ecuador: Rachela Wasilewska with the Basque Symphony Orchestra

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Rachela Wasilewska with the Basque Symphony Orchestra

The Symphonic Orchestra of Cuenca under the direction of maestro Michael Meissner - Regular Director, presents his XXIII Concert of the I Season 2019 with the virtuoso cellist, Rachela Wasilewska (Poland), guest soloist, this Friday, June 28 at the Pumapungo theater at 8 PM. This event takes place in tribute to the Ricardo Muñoz Chávez Educational Unit in its Golden anniversary. Admission is free until full capacity is reached.

Rachela Wasilewska: From an early age she won important national and international competitions. Due to her virtuosity and dedication, Rachela was accepted into the Assistance Program for Talented Children in Warsaw. She has participated in various music courses and classes with leading pedagogues and great musicians from all over the planet.

In 2018 she obtained her degree at the Claudio Monteverdi Conservatory, Bolzano-Italy, where she graduated with the highest qualification, Cum Laude and distinction. On her trip to Ecuador for this concert with the Cuenca Symphony Orchestra, she is supported by the Adam Mickiewicz Institute of Poland. Rachela plays a violoncello Giovanni Grancino, Milano 1698, generously donated by the Claudio Monteverdi Conservatory in Bolzano.

One night in the barren mountains. Modest Musorgski. It is a symphonic poem that refers to a night of witches on a mountain on the night of San Juan.

Concert for Violoncello in La Menor, op. 22. Samuel Barber, Premiere in Ecuador. Composed in 1945 on behalf of the Boston Symphony to be premiered by the Russian cellist Raya Garbousova. The composer conceived the work in tune with the musical personality of the soloist. This is how he asked the artist to interpret a substantial part of his repertoire to understand and absorb his interpretative style. Those familiar with Garbousova's career have said that the concert was ideally suited to the cellist's temperament, who continued to interpret it throughout his career. It is a demanding concert and very little played, for a very virtuous soloist.

Symphony No. 1. Luis Humberto Salgado. Editor's Notes: The autograph on the title page of the first symphony only says: Andean Symphony in G minor, not to mention Ecuador. The fourth symphony in D major does have the subtitle "Ecuatoriana". At the bottom of the title page says: Note: Original themes of the author. The second theme of the first movement is dodecaphonic, both in its melody (horizontal) and in its accompaniment (vertical). However, the sequence of the twelve tones gives it a cantábile character, more pentaphonic than atonal. The yaraví of the second movement has a dissonant harmonization and a chromatic downline in the bass, both atypical elements of the Andean dance, but typical for Salgado's concept, of using national elements in a modernist, universal context. In the third movement, another chromatic line of the bass accompanies the theme of the dancer, a ritual dance of pre-Inca origin. The theme of the rise in the Finale appears bitonal, since it is accompanied by itself in the interval of tritone, the most dissonant possible.

Unfortunately, the end of the autograph of the fourth movement has been lost. Thanks to a second version of this symphony called Symphony of vernacular rhythms, which Salgado elaborated in 1972 and with which he won the First Prize in the contest of symphonic works, promoted by the Commission of the Sesquicentennial of the Battle of Pichincha, it was possible to reconstruct the final of the Andean Symphony, although in this second version Salgado dispensed with the English horn, bass clarinet, harp and celesta and cut some parts of the development. Michael Meissner - Editor, 2019

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