Monterey Symphony: Classical Music from Mexico

By -

Two internationally renowned classical musicians are coming to Salinas California next month as the Monterey Symphony pays tribute to symphonic music from Mexico. Conductor Carlos Miguel Prieto (pictured) and his father, renowned cellist Carlos Prieto, will perform Saturday, Feb. 14, at Sherwood Hall, 940 N. Main St. in Salinas.

Carlos Miguel Prieto, a graduate of both Princeton and Harvard, was voted "conductor of the year 2002" by the Mexican Union of Music, and he was named music director of the Orchestra Sinfonica Nacional de Mexico (National Symphony Orchestra of Mexico). "I'm always looking to present positive role models," said Joseph Truskot, executive director of the Monterey Symphony. "This is a side of Mexican culture many people may not be aware of."

The concert will consist of a cello concerto composed by Federico Ibarra especially for the elder Prieto. The suite from redes (fish nets) will also be performed. Silvestre Revueltas, arguably Mexico's greatest classical music composer, wrote the musical score for Fred Zinnemann's 1934 film "redes," which tells the story of 1930s Mexican fishermen fighting for their rights.


Here is a sample of Federico Ibarra's Piano Sonata 6,

ten minutes of a very enjoyable, tonal and yet very modern piece.

Here is Simon Bolivar conducting "Sensemayá" by Silvestre Revueltas,

written in 1938, 4 years after the film score for "redes."

It should be an exciting concert giving a glimpse of contemporary Mexican classical music.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more