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The Cuenca Symphony Orchestra

The fourth chapter of the “Beethoven-Salgado” Cycle closes July in the Digital Room of the Cuenca Symphony Orchestra

The month of July, 2020, has been dedicated to the "Beethoven-Salgado" Cycle as a special tribute of the Cuenca Symphony Orchestra for the 250th birthday of Ludwig van Beethoven (Germany, 1770-1827), this tribute combined with the works of Luis Humberto Salgado, one of the greatest Ecuadorian composers, named by the Master Michael Meissner as the Ecuadorian Beethoven. Find us on the YouTube channel https://www.youtube.com/user/sinfonicacuenca and on Facebook https://www.facebook.com/sinfonicacuenca on Friday, July 31 at 8 PM. We will upload the recorded concert from Friday, February 21, 2020 at the Pumapungo theater. The repertoire includes: Symphony No. 4, Ecuadorian by Luis Humberto Salgado and Symphony No. 4 in B Flat Major, op.60 by Ludwig van Beethoven.

Symphony No. 4, Ecuadorian in D Major (1957) by Luis Humberto Salgado. In this symphony, Salgado returns to one of his main inspirations: to merge the essence of traditional Ecuadorian music with the advanced compositional techniques of the 20th century. The work consists of four contrasting movements in the customary order: An introduction to the majestic Andantino prepares the initial rhythm of the Sanjuanito. The second Andante cantabile movement begins with a nostalgic lullaby of the clarinet on a lull lullaby on the string. It is followed by another song in irregular rhythm, not alien to the Andean tradition. Both elements alternate until reaching the climax in fortissimo, but a cadence of the harp calms the spirits and, in reverse order, both Andean songs end the movement in calm. The third movement in A-B-A form has the character of a Scherzo, the whimsical theme of the violins appears in a thousand forms and instrumentation, Salgado shines once again as a virtuoso orchestrator. The Rhapsodic Ending again combines heterogeneous elements: a nostalgic trumpet melody, similar to that of the second movement, is almost run over by different rhythmic and melodic counterpoints on strings, horns, and percussion, opening a virtuous feast for all sections of the orchestra. (Michael Meissner, June 2019)

Symphony No. 4 in B Flat Major, op.60 by Ludwig van Beethoven. It was composed in 1806 and premiered on March 7, 1807 in Prince Lobkowitz's palace in Vienna, dedicated to Count Franz von Oppersdorffd. It begins mysteriously, as if it were theater music. It places us in a night scene, with hidden threats. After a couple of minutes, it becomes solemn for a moment, to become music with a very pleasant, even happy mood.

But let us not be confused, Beethoven makes no concessions: it is a composition for a noble, but it is not going to give him a classic, aseptic and emotionally correct happiness; Beethoven is committed to his work and leaves his mark on music.

The second movement is one of the few slow movements in all its symphonies, with very beautiful melodies. He calls the third movement Minué, perhaps so as not to scandalize the Count von Oppersdorff, but in reality it is another of his Scherzo. The fourth movement is another wonder, fast, with good humor and a lot of energy.

With this delivery there will be 22 digital concerts that the public can enjoy and share from anywhere on the planet at the time and times they want in the Digital Room of the Cuenca Symphony Orchestra.
                        
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