I've opened a new folder for New World composers, to include all of the countries south of the United States. Many of these composers studied in Europe, Russia and the U.S., but receive very little international recognition.
Thanks for contributing right off, A.S.
I have added to this folder the 1st Symphony of Julian Carillo (1875-1965). He was born in Mexico, but spent a great deal of his life in Europe and the U.S. as well as his home country. Although he dropped out of primary school due to family hardship, he was a brilliant mind and talented musician. His research into node law garnered a nomination for the Nobel Prize in physics.
The 1st Symphony is a relatively early work, Which he premiered in Leipzig. It was very well received when he conducted it with the orchestra he had organized in NY called the American Symphony Orchestra (perhaps you've heard of it). In 1916, he wrote the musical score for D.W, Griffith's Intolerance. His theory of the natural evolution of music coalesced into a microtonal theory called "The Thirteenth Sound."
You can read more about Carillo on Wikipedia
http://en.wikipedia.org/wiki/Juli%C3%A1n_Carrillo (http://en.wikipedia.org/wiki/Juli%C3%A1n_Carrillo)
Amphissa
Thanks to upload Julian Carillo's symphony no.1
This work is very good work!
By the way, who anyone know did Carillo's symphony no.2 is recorded?
I know his symphony no.3 is recorded, but no.2 , I don't know it.
Atsushi
Soon after becoming aware of this site (thank you so much Giles!), I found that someone had provided the link for the Ricardo Castro PC (on YOUTUBE) which I then downloaded. I also bought the CD of his CC as a follow up.
At the time, the comments here suggested that the Castro PC might be recorded in the future, with a suitable partner being the SORO PC.
After downloading Soro's symphony from this site just a few days ago, I then found a short clip from his PC (again on YOUTUBE), together with a few other of his short orchestral pieces. Potentially his PC is another UNSUNG treasure?
Does anyone have a version they can upload, since a commercial recording does not seem to be anywhere near coming over the horizon?
Thank you in hope/anticipation??!!
Richard
Hrm. ... a symphony in D major of Carillo was released conducted by the composer as part of a 12-LP set in 1965- on the label Sonido 13, not sure which symphony this is ? (Lamoureux Concerts Orchestra.) In any case, that would be LPs... hrm... (I think that's probably symphony no.1 though. Some refs. to it say re mayor, some re minor.)
Thanks, Atsushi, for the Santoro Symphony No.6 :)
I have the 4th and 9th on a BIS cd.
Colin, I'm glad to hear you enjoyed Santoro :)
I have Symphony no.5 and no.7 by Santoro ( original is LP) , but there recordings are available on CD (maybe Brazilian company)
And I have next recordings by Latain American composer's symphony.
These are not available on CD as far as I know, and I will upload one of these days.
TAVARES, MÁRIO (1928-2003, BRAZIL) : Symphony No. 1 "Guararapes" (1981)
FABIO GONZÁLEZ-ZULETA (b. 1920, COLOMBIA) and Symphony No. 4 "del Café" (1963)
Will add Soro's piano concerto from LP
Dear 'Arbuckle'
Many tks for uploading the Soro PC. I'm downloading as I type - looking forward now to hearing the whole work, (not just the Youtube clip)
Once again, thank you
Richard
PS Thanks too (again!!) for all the many other (romantic) uploads that you and the others have provided and which are providing so much listening pleasure.
After a couple of weeks of very busy times, traveling and at work, I finally have the chance to upload a few more items. Most fun, perhaps, is a concert dominated by New World composers, by Dudamel with the Berlin Philharmonic. I am not a big fan of "The Dude", but I do appreciate his ongoing effort to promote the music of some of the major New World composers. And the BPO does not exactly have Latin and South American music in their blood. They are more "stiff" than the orchestras of the Americas playing this repertoire. Still, it is a fun concert featuring some excellent music.
Quote from: Amphissa on Saturday 12 November 2011, 18:31
After a couple of weeks of very busy times, traveling and at work, I finally have the chance to upload a few more items. Most fun, perhaps, is a concert dominated by New World composers, by Dudamel with the Berlin Philharmonic. I am not a big fan of "The Dude", but I do appreciate his ongoing effort to promote the music of some of the major New World composers. And the BPO does not exactly have Latin and South American music in their blood. They are more "stiff" than the orchestras of the Americas playing this repertoire. Still, it is a fun concert featuring some excellent music.
Unable to see your uploaded items.
As far as I can see, both Amphissa's posts to the Downloads board and the files that they link to are working OK.
Quote from: jerfilm on Sunday 13 November 2011, 19:06
Adriana Fiqueros Manas - Argentina
Here's what is apparently an official website for Ms. Manas which includes downloads of numerous works including LatinoAmerica Fantasy for piano and orchestra, Metropolis sym poem, and other interesting, I think, works.
http://www.ciweb.com.ar/figueroa/obra2.php#audio (http://www.ciweb.com.ar/figueroa/obra2.php#audio)
I'd be interested to hear what others think of her work.
Jerry
Jerry, I have had a great time downloading from this site and enjoying the music. It's a very entertaining mix of styles and sounds, never boring but not making any significant demands on the listener - a kind of "Robert Docker meets Villa-Lobos" (apologies for the confusion of nationalities!) ;D ;D - and a refreshing change from our usual deep-and-meaningful (and wonderful) symphonics.
Many thanks for drawing attention to it ...
Metropolis is particularly enjoyable.
:)
But sir in the very first post there is no link. I think it has been edited by Amphissa.
There is a link in that first post to a work by Peruvian composer Celso Garrido-Lecca.
I am uploading some music by Carlos Chavez, the prominent Mexican composer.
First up is his Violin Concerto, which is otherwise difficult to get hold of. This is a performance recorded for BBC Radio by Sidney Weiss, former Concertmaster of the Chicago Symphony Orchestra and later the Los Angeles Philharmonic Orchestra, with the BBC Symphony Orchestra conducted by the composer.
Please note that the first minute of the concerto is missing. This is because my 40 year old trusty reel-to-reel machine-which has been in constant use now for over 5 weeks of continual playback and recording-decided to swallow the tape. It has taken me several hours to take the machine to pieces and extract the bits of tape wound round inside the mechanism :o
From the same concert the BBC Symphony Orchestra conducted by Chavez play his Symphony No.4 "Sinfonia Romantica". It is the last minute of this work which is missing.....but that, at least, was a mistake made 38 years ago by yours truly.
Much as I dislike uploading incomplete works I still hope that these recordings may be of interest ;D
Quote from: Dundonnell on Sunday 27 November 2011, 01:03
...... my 40 year old trusty reel-to-reel machine-which has been in constant use now for over 5 weeks of continual playback and recording-decided to swallow the tape. It has taken me several hours to take the machine to pieces and extract the bits of tape wound round inside the mechanism :o
Sorry to hear that, Colin. I know exactly what you're up against! :(
Quote from: semloh on Sunday 27 November 2011, 01:56
Quote from: Dundonnell on Sunday 27 November 2011, 01:03
...... my 40 year old trusty reel-to-reel machine-which has been in constant use now for over 5 weeks of continual playback and recording-decided to swallow the tape. It has taken me several hours to take the machine to pieces and extract the bits of tape wound round inside the mechanism :o
Sorry to hear that, Colin. I know exactly what you're up against! :(
To be fair to the old machine it is an absolute miracle that it has performed so well in making it possible to digitise all this marvellous music(imo at least ;D) after lying around for exactly 30 years covered in dust, unattended and unloved :)
Recently added is Camargo Guarnieri's Choro for Cello and Orchestra(1962) with Aldo Parisot and the Vienna State Opera Orchestra/Gustav Meier.
Atsushi, thanks for the González-Zuleta upload, about which I have a few annotations. First, Fabio González-Zuleta died exactly one month ago on November 17, 2011. Second, you can find the performers of Pineda Duque's Triple concerto (which you state as being unknown) here:
http://www.violin-concerto.de/database.html?sobi2Task=sobi2Details&catid=1903&sobi2Id=13867 (http://www.violin-concerto.de/database.html?sobi2Task=sobi2Details&catid=1903&sobi2Id=13867)
So, it's Hilda Adler (piano), Luis Biava (violin), Ludwig Matzenauer (cello) / Orquestra Sinfónica de Colombia / Olav Roots
Thanks for information, Holgar :)
I modified my upload now.
Atsushi - Alberto Williams' 2nd Symphony - terrific, thank you. :)
Hopefully, his recent appearance on Chandos and Naxos will stimulate interest ... who knows, we may even get a set of the symphonies one day!
Yes. Alberto Williams is quite interesting composer.
Except first symphony, all of his symphonies have subtitle. Attractive symphonies... ::)
Symphony No.1 in B minor Op.44 (1907)
Symphony No.2 in C minor "The Witch of the Mountains." (1910) Op.55
Symphony No.3 in F major (1911)"The Sacred Forest." Op.58.
Symphony No.4 in E flat major "Eli ataja-caminos (1935) Op.98
Symphony No.5 in E flat major "The Doll's Heart." (1936) Op.100
Symphony No.6 in B major "The Death of the Comet." Sixth Symphony (1937) Op.102.
Symphony No.7 in D "Eternal Rest." (1937) Op.103
Symphony No.8 in F minor "The Sphinx." Op.104 (1938)
Symphony No.9 in B flat "Los batracios" (La humorística) Op.108 (1939)
recently discussed on Facebook in a group on North European (and other) lesser-known composers, too (Williams). Sym 7 is the only one I've heard (but I'll download 2 :) ) , from a broadcast years back of the Arte Nova CD. Recent appearance on Chandos and Naxos? I forget if I caught that. Good news.
Quote from: eschiss1 on Wednesday 04 January 2012, 00:17
recently discussed on Facebook in a group on North European (and other) lesser-known composers, too (Williams). Sym 7 is the only one I've heard (but I'll download 2 :) ) , from a broadcast years back of the Arte Nova CD. Recent appearance on Chandos and Naxos? I forget if I caught that. Good news.
Eric - what I carelessly called Naxos is actually two Marco Polo CDs of piano music - I thought they'd been re-badged as Naxos but I see they are still listed as Marco Polos. ::)
The Chandos is "Fiesta Criolla - Latin American Orchestral Works" (Wurttembergische Philarmonie Reutlingen, cond. Castagana) which includes Alberto Williams'
Primera obertura de concierto (1889).
The Arte Nova CD is about the only other commercial recording I know of.... and although it appeared in 1996 it's probably still available. (Review at http://www.musicweb-international.com/classrev/Apr99/alberto.htm )
:)
Quote from: semloh on Wednesday 04 January 2012, 04:02
Quote from: eschiss1 on Wednesday 04 January 2012, 00:17
recently discussed on Facebook in a group on North European (and other) lesser-known composers, too (Williams). Sym 7 is the only one I've heard (but I'll download 2 :) ) , from a broadcast years back of the Arte Nova CD. Recent appearance on Chandos and Naxos? I forget if I caught that. Good news.
Eric - what I carelessly called Naxos is actually two Marco Polo CDs of piano music - I thought they'd been re-badged as Naxos but I see they are still listed as Marco Polos. ::)
The Chandos is "Fiesta Criolla - Latin American Orchestral Works" (Wurttembergische Philarmonie Reutlingen, cond. Castagana) which includes Alberto Williams' Primera obertura de concierto (1889).
The Arte Nova CD is about the only other commercial recording I know of.... and although it appeared in 1996 it's probably still available. (Review at http://www.musicweb-international.com/classrev/Apr99/alberto.htm )
:)
I just ordered the Chandos with my Christmas gift card - I'll be happy to report once it arrives.
Many thanks, shamokin88, for your wonderful uploads of the neglected works of Jacobo Ficher. Is there more of them, mainly his symphonic pieces?
Alberto Ginastera may not really be an "unsung composer " but I've posted the premiere original Harp Concerto , which is a pretty wining blend of his early style (which I like a lot) and his later, more avante garde style (which I need to be in the mood for.)
(http://www.classical-composers.org/img/ginastera.jpg)
The following program notes are from: http://www.floridaorchestra.org/pdf/May14-16GinasterasHarpConcerto.pdf (http://www.floridaorchestra.org/pdf/May14-16GinasterasHarpConcerto.pdf). If nothing else, Ginastera's comments on the union of the emotional and cerebral goals of art in the second paragraph are very enlightening, and I think this concerto does fit this goal more than some of his other later works.
QuoteThe Harp Concerto marked a significant turning point in the development of Ginastera's musical style. The composer categorized his works before the mid-1950s as "Nationalistic," drawing inspiration and material forthem from the rhythms and melodies of the Argentine folksongs and dances known as musica criolla, though he seldom used literal quotations. This nationalistic music is imbued with the symbolism of the pampas and the "gauchesco" tradition, for which Ginastera became the leading musical spokesman.
His second style("Neo-Expressionism") began around 1958, and encompassed most of his later compositions, works in which he employed such avant-garde techniques as polytonality, serial writing, quarter-tones and other micro intervals, and an extension of instrumental resources. The Harp Concerto stands at the threshold between Ginastera's two musical idioms, blending the vibrant rhythms and characteristic melodic leadings of indigenous Argentine music with the expanded harmonic, textural and coloristic resources of his gestating later manner. The strongest thread tying together his old and new modes of musical speech is not technical, however, but expressive, as he indicated in writing about his 1961 Piano Concerto: "A work must produce a feeling of comprehension, a flow of attraction between public and artist, independent of structural implications.... Art is first perceived by our senses. It then affects our sentiments and in the end awakens our intelligence. A work which speaks only to the intelligence of man will never reach his heart.... Without sensibility the work of art is only a cold mathematical study, and without intelligence or technique it is only chaos. Thus the perfect formula would be sensitive beauty plus technical skill." The Harp Concerto is such a work.
The Concerto follows the traditional three movements, though the form is amended by the inclusion of an extended solo cadenza as the bridge to the finale. The opening movement follows the usual sonata-form pattern: a close-interval main theme is presented by the harp to the accompaniment of whirring figures in the strings and sharp punctuations from the winds and percussion; the second theme, marked in its first measure by a wide-ranging arpeggio from the harp, follows after some soft timpani taps, a brief silence and a sentence of simple prefatory chords from the soloist. The middle of the movement contains a passage of dynamic energy exploiting the rhythmic ambiguity inherent in the movement's meter (and calling for "collegno" — tapping with the wood of the bow — from the strings) and a development of the main theme initiated by string tremolos and flutter-tonguing on the flutes. The main theme and second theme in abbreviated versions (separated by a brief cadenza) round out the first movement.
The second movement consists of a large central section framed at beginning and end by strongly contrasting music. A lugubrious imitative passage rising from the low strings, a timbre and texture reminiscent of the fugue in Strauss' Zarathustra, opens the movement. The harp and woodwinds trade expressive comments on the strings' opening statement. The principal part of the movement is given over to a paragraph of "night music" in which the harp's snapping figures are set against an eerie, rustling background, a quality perhaps indebted to the slow movements of several of Béla Bartók's orchestral compositions. The return of the tiny string fugue and the harp's comments upon it close the movement. A dramatic and virtuosic cadenza serves as the gateway to the finale, a rondo whose structure is marked by the sharp reports of the tom-toms heralding the appearances of the main theme.
NOTE: Upon further discussion, investigation, the Concerto was apparently written in 1956, and there may be as many as six versions, although we may never know to degree to which they vary, or which one was performed at the premiere. If there is a Ginastera specialist in the house, we'd welcome your input!
"Original version"? Something different about it from the one recorded a couple times (for instance on Chandos)?
Quote from: TerraEpon on Monday 13 February 2012, 18:19
"Original version"? Something different about it from the one recorded a couple times (for instance on Chandos)?
My source had included "Original Version", and I passed it along-- I've not heard the ones that have been recorded. (But I did check to see if this version was available on Amazon)
So, in short, I don't know. If anyone who has listened to other "versions" can't tell a difference, I can remove that part for the posting.
I refer you to the following:
Quotehttp://www.floridaorchestra.org/pdf/May14-16GinasterasHarpConcerto.pdf
There's no indication that the premiere was of the original version, and I would be surprised if it were, as the composer wouldn't be likely to prefer the original version to be the version of the premiere after he went to the trouble of revising it.
Quote from: Latvian on Monday 13 February 2012, 19:30
I refer you to the following:
Quotehttp://www.floridaorchestra.org/pdf/May14-16GinasterasHarpConcerto.pdf
There's no indication that the premiere was of the original version, and I would be surprised if it were, as the composer wouldn't be likely to prefer the original version to be the version of the premiere after he went to the trouble of revising it.
Just as a note- the description you referenced was not of the premiere performance, but one for a much later one that had a very good set of program notes.
This review http://www.classicalcdreview.com/agharp.htm (http://www.classicalcdreview.com/agharp.htm) implies there at 6 versions, and also a 9 year gap between when teh concerto was written and when it premiered, putting it closer to the phase with Panambi and Estancia:
QuoteNothing in this tribute to Ginastera (1916-83), South America's greatest composer of any century, is new to North American catalogs. Schwann/Opus lists five other versions of the 1956 Harp Concerto, a work that retains elements of the composer's Argentinian national style, dominant in the suites from his two early ballets,
At this point, unless anyone objects, I'll remove the "original version" from the postings, but to reply to the original question, if there are that many versions, I think we now know even less than before.
Hi! Is there any chance that someone will re-upload the rare Symphony by Meseron? The link does not work any more. If of interest, I can upload a Symphony by Neukomm, written for Rio de Janeiro.
Many thnaks
SemiSerio
Can I respectfully point out that there are now two Folders in the Downloads Section, one entitled "New World Composers" and a new one, started today by Ilja, entitled South American Music (New World).
Should these be merged?
Yes, I agree Dundonnell, and I've merged Ilja's post into the already established New World topic. Hope that's OK with you, Ilja?
Entirely. I had been looking for a 'new world composers' section, but apparently missed it.
So that Levy symphony seems to not want to download completely, even after multiple tries. Anyone else with the issue?
Don't know what went wrong, but I've replaced the link with a new one that should work.
Yeah it worked last night. I wonder if it's related to MF's new interface they seemed to have rolled out today.
Santa Cruz de Pacairigua, by Evencio Castellanos (Venezuela)
(http://upload.wikimedia.org/wikipedia/en/f/fb/Evencio_1.jpg)
Chicago Symphony Orchestra
Gustavo Dudamel, Conductor
April 5th, 2007
Recording of live performance. To the best of my knowledge, not commercially released.
From the collection of Karl Miller
It is only fitting the Dudamel conducts this work of a fellow Venezuelan, and one people who helped lay the groundwork for El Sistema.
Naxos Liner notes from their Castellanos Album (not the performance here...)
Evencio Castellanos may well be considered one of the most significant and representative Venezuelan nationalistic composers of the twentieth century. Born into a family of active musicians, he received his first musical instruction in organ from his father, Pablo Castellanos, and piano lessons from Rafael González Guía in Caracas. At an early age he began to assist his father by playing organ in various churches in Caracas and eventually became the organist of the Cathedral of Caracas, a position his father held for many years. His first formal training in composition began at the Escuela de Santa Capilla, the founder of which was Vicente Emilio Sojo, perhaps the most imposing musical figure in Venezuelan musical history, who exerted a lasting influence over a whole generation of Venezuelan composers such as Gonzalo Castellanos-Yumar (brother of Evencio), Antonio Estévez, Ángel Sauce, Antonio Lauro, Carlos Figueredo, Blanca Estrella, José Clemente Laya, José Luis Muñoz, Raimundo Pereira, Modesta Bor and Inocente Carreño.
After furthering his musical studies in New York at the Dalcroze School of Music, Evencio Castellanos embarked on a dynamic and active musical life in Caracas, becoming a member of the Orquesta Sinfónica de Venezuela (of which Sojo was one of the founders in 1930) and, eventually, vice-president of its board of directors. In addition to his own prolific work as a composer he enjoyed a long association with the Escuela Superior de Música, teaching composition and ultimately becoming its director between 1965 and 1972. The work and influence of Castellanos as a conductor cannot be underestimated. He was the founder and director of the Collegium Musicum of Caracas and the orchestra of the Universidad Central de Venezuela. His association and work with the Experimental Orchestra of the Orquesta Sinfónica de Venezuela wielded lasting influence over the creation of the current and vibrant movement of youth orchestras in Venezuela founded by José Antonio Abreu.
The establishment of a nationalistic school of composition by Sojo came about partly as a result of the need to preserve much of the popular music which had found its place in the social and cultural life of colonial Venezuela. European musical forms such as the mazurka, the waltz, the minuet and the polka were embraced by Venezuelan culture, absorbing them and, thus, producing its own distinct expressive voice. Fearing that this tradition would fall into oblivion, Sojo and another notable figure, Juan Bautista Plaza, set about to write down a heretofore vocal tradition of hundreds of popular melodies which would later permeate the works of the new generation of composers educated by Sojo at the Santa Capilla.
The creation of the Orquesta Sinfónica de Venezuela and the first mixed choir, Orfeón Lamas, around 1930 provided a platform and outlet for the creative outpouring by this new generation of composers such as Evencio Castellanos, who not only were instrumental in the formation of the ensembles but actively participated in them as performers. Hence, the early history of the Orquesta Sinfónica de Venezuela is inextricably linked to the vital creative process and work of many of the composers of that generation.
Castellanosʼs compositional style can perhaps best be divided into works that are emblematic of the nationalistic influences set forth by Sojo, on the one hand, and on the other, sacred compositions influenced by his religious upbringing and life-long religious devotion. His major orchestral works are permeated with a nationalistic aesthetic and are infused with folkloric elements, as are most of his instrumental and chamber works. His various sacred choral and organ compositions are more representative of his religious orientation.
The title of the work Santa Cruz de Pacairigua (1954) pays homage to the construction of a church in Guatire, near the capital of Caracas, where Vicente Emilio Sojo was born and is perhaps Castellanosʼs best known and most frequently performed composition. The main theme introduced by a solo trumpet invokes and paves the way for the feast of San Pedro, when the folk dance to the rhythms of drums led by a principal dancer disguised as Maria Ignacia (a historic black slave of the region) wearing a long-braided wig. This first exuberant section, which introduces several contrasting melodic ideas, transitions into a more lyrical and reflective episode containing a Venezuelan vals and an allusion to a borrowed melody by Henrique de León. The sections are distinctively linked by the introduction of a four-note motive played by tubular bells which spells out the tuning of the Venezuelan cuatro (a folkloric, four-stringed version of the European classical guitar). The last section returns to the festivities of San Juan and Corpus Christi where Castellanos quotes an old medieval Lauda Sion over an incessant drum motive. A quirpa (a variant of a popular dance from the region of the tropical grassland plains called joropo janero) brings the festivities to an energetic conclusion.
To answer the question on the "original version" of the Concerto...According to Deborah Schwartz-Kates (author of the Ginastera A Research and Information Guide) he began work on the piece in 1956 but did not finish it until 1965. According to Deborah, there is but the one revision, dating from 1968. The first performance of the original version was given on the 18th of February of 1965 with Zabaleta, Ormandy and the Philadelphia Orchestra. It is dedicated to Philadelphia Orchestra harpist Edna Phillips. She may have retired by the time the piece was completed. It was commissioned by Samuel Rosenbaum for Ms Phillips.
Karl
Symphony 1 (in one Movement) 1956 by Roberto Falabella (1929-1958)
(http://1.bp.blogspot.com/_CWtkEZwSfZ4/TSNOrPSPuHI/AAAAAAAAAHE/RJrtBj0aVtc/s200/fala.jpg)
Chile Symphony Orchestra
Hector Carvajal, Cond.
Live performance, private recording. Date unknown.
From the collection of Karl Miller
This Symphony is several minutes shorter than Webern's, has some modern trappings, but also mixes in folk motifs and interesting rhythms.
Wikipedia Bio
Roberto Falabella was a chilean composer active in the decade of the 50′s. He suffered from a disease called Little that kept him in a wheelchair through out his life and eventually killed him at the age of 29.
Despite his disease, he was a very active composer that created a huge catalogue of works and became known by his colleagues as the "Chilean Mozart". He had a deep knowledge of Latin American music, the classical tradition and of the avant-garde music of his time.
Most of his work remains unperformed.
His unorthodox eclecticism was very uncommon at his time and connects Falabella's music to younger generations of composers (such as Alfred Schnittke, John Adams, John Zorn, etc) .
The work "Estudios Emocionales" (Emotional Studies) combines minimalism, serialism (in a time when they were considered antagonists) and huayno rythms and melodies from the Andes. Another peculiar aspect of this work is the use of very long pauses.