GringoPost | Ecuador: Chapter 3 of the Beethoven-Salgado Cycle

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Chapter 3 of the Beethoven-Salgado Cycle

We continue with our tribute to Beethoven for the 250 years of his birth and to the Ecuadorian composer Luis Humberto Salgado for his prolific musical work. This Friday, February 14, we will perform the Luis Humberto Salgado Symphony No. 3 and the Symphony No. 3 in Mi Bemol Mayor, op.55, Heroicade Ludwig van Beethoven at the Pumapungo Theater at 8 PM. Admission is free until capacity is filled. We thank you for arriving early.

Symphony No. 3. (A_D_H_G_E) in D Major on a pentaphonic series in Rococo style). Luis Humberto Salgado. The unusual title of this symphony reveals its technique - the themes of each movement are built with the 5 mentioned notes - and its style: Rococo, typical of the 18th century, with Mozart as its greatest exponent. The orchestration, however, considers a large orchestra, non-existent in those times, including the section of complete metals, various percussions, harpsichord, harp, celesta, bells and bells (Glockenspiel), which causes the sensation of a style exported to others times, as did other fans of the past such as Stravinski, Respighi and Hindemith, among many others. Since the four movements are oriented in dance models of Rococo and Baroque, their perception is relatively easy, the greatest delight for the listener is to distinguish between traditional moments and their modern “exaggerations”, by the extravagant instrumentation. In this symphony, Salgado dispenses with fusing Andean elements with modernism, rather it presents a stylistic and instrumentation exercise, an almost ironic example of his perfect mastery of any compositional challenge.

Symphony No. 3 in Mi B flat Mayor, op.55, Heroic. Ludwig van Beethoven. Beethoven's third symphony was before and after in the author's compositional evolution, in it he points out new and unexplored paths up to that point in musical composition. It was for the author his favorite symphony.
Richard Wagner commented on the work: "We must repeat that only Beethoven's musical language was powerful enough to express the inexpressible, that which would be impossible to translate with words."
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