Nicolás Toledo Video
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2024-04-27
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
SIFACE: L' Amor castrato - La Ópera se vive en el Festival de Música del Greco - Filippo Mineccia, contratenor. Javier Ulises Illán, director Nereydas CMMedia presenta en su informativo el concierto de Nereydas junto al contratenor Filippo Mineccia bajo la dirección de Javier Ulises Illán. El concierto se celebró el sábado 27 de Mayo de 2017 en el Patio del Convento de San Pedro Mártir de Toledo. CMMedia
José María Vitier Caturla Pedroso Amado Valdés Ramos Morales Núñez Andres Rodriguez Cisneros Gutiérrez Hernández Félix Navarro Pino Heredia Machado Amat 1525 1645 1909 1979
"Siguiendo la línea de trabajo iniciada exitosamente con la popular serie 'En silencio ha tenido que ser' la televisión cubana, en colaboración con el Ministerio del Interior, comenzó el pasado 1 de enero la transmisión de un nuevo serial titulado 'Julito, el pescador'. Basado en la biografía extraordinaria de un pescador que durante varios años estuvo infiltrado como agente de nuestros Órganos de Seguridad dentro de las bandas terroristas radicadas en Miami, 'Julito, el pescador' constituye un documento de profundo contenido humano y rico valor histórico, reflejo y síntesis a la vez de la actividad anónima de miles de hombres y mujeres del pueblo que han arriesgado, y en no pocas ocasiones ofrendado generosamente sus vidas, para descubrir y desarticular los planes del enemigo. Este disco de larga duración que la EGREM ofrece hoy a la consideración del público reproduce la banda original sonora de la serie, grabada en los Estudios EGREM durante el mes de noviembre de 1979." Side A: Tema De Julito El Pescador ( 0:00 ) Elena I ( 3:47 ) Transparencia ( 6:23 ) Despedida ( 11:06 ) Persecución ( 15:25 ) Side B: Frente Al Mar ( 16:45 ) Son Dos ( 19:09 ) Riesgo ( 22:28 ) Elena II ( 27:14 ) Espera ( 29:29 ) Evasión ( 30:50 ) Musicians: Composed, Orchestrated, Directed by – José María Vitier, Sergio Vitier Horns – David Guerra, Darío Morgan, Leonardo Pestana, Segundo Menéndez Flute – Genaro G. Caturla, Juan M. Ceruto, Luis F. Mustelier, Regino Pedroso Oboe – Amado Del Rosario, José Pando, Pedro Garcia Drums – Oscarito Valdés Cuban Percussion – Juan Ramos "Juaniquiqui", Mariano "Angá" Rodríguez Percussion – Federico Chea, Marcos Varcárcel Keyboards – Emilio Morales, José Ma. Vitier, Miguelito Núñez Guitar – Rogelio Nápoles, Sergio Vitier Tres – Nicolas Sirgado Choir – Coro De Camara De La E.N.M. - Directed by Alina Orraca Violin – Andres Collazo Rodriguez, Armando Toledo Cisneros, Carmen Luisa Blanco, Guillermo Gutiérrez Consuegra, Joaquín Betancourt, José A. Pérez Fuentes, José Ma. Fernández, Lazaro Dagoberto Gonzales, Lazaro Gonzalez Sibore, Omar Puente, Pablo Mesa, Pedro Jústiz, Rafael Lay Apesteguía, Ricardo González, Yamir Portuondo Viola – Jorge Hernández, Manuel Iznaga, Rafael Cutiño Diequez, Sidney Campbell, Silvio García Cello – Alina Neira, Félix Fernández, Rodolfo Navarro Fernandez Contrabass, Electric Bass – Carlos Del Pino, Nicolas Sirgado Trumpet – Andres Castro, Angel Duménigo, Anselmo López, Emilio Heredia, Manuel Machado Trombone – Alberto Batista, Alvaro Collado, Elio Orta "Hacemos mención especial de agradecimiento al compañero Francisco Amat (Pancho) director del 'Grupo Mangüaré' por su destacada intervención en las sesiones de grabación de este disco, sin cuya cooperación, no hubiera sido posible la realización de estas grabaciones." / I DO NOT OWN ANY COPYRIGHT ALL RIGHTS TO THE OWNER ENJOY!!
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