tag:blogger.com,1999:blog-80359019711571246802024-03-13T15:08:55.139-07:00Agustín Fernández's programme notesFor the use of concert promoters and students. © Agustín FernándezAgustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-8035901971157124680.post-62936369168718981352023-03-24T05:34:00.003-07:002023-03-24T18:21:42.600-07:00Notice of migration / Aviso de migración<p><span style="font-size: medium;"><span style="font-family: helvetica;">This
blog is being moved to another server. In its current state it will
remain in this address but it will no
longer be updated. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">To
access the new blog go to agustinfernandez.com and click on the
relevant link. There you will find the same contents as here and any
future entries. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">We expect the new pages to be working from Monday 27 March 2023. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">In this transitional period if you need to contact Agustín Fernández please use agustinfernandez@me.com. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Thank you for your forbearance. <br /></span></span></p><p><span style="font-family: helvetica; font-size: medium;">---------</span><br /></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Este blog se
está trasladando a otro servidor. En su estado actual permanecerá en
esta dirección, pero ya no será
actualizado.</span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Para
acceder al blog nuevo digite agustinfernandez.com y pulse el enlace
correspondiente. Allí encontrará el mismo contenido y, de ahí en
adelante,
aportes nuevos. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Prevemos que las nuevas páginas entren en acción el lunes 27 de marzo de 2023.</span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">En este periodo de transición si necesita contactarse con Agustín Fernández favor usar agustinfernandez@me.com. <br /></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">Gracias por su paciencia. </span></span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-73557352963848655262020-10-12T08:34:00.003-07:002020-10-12T08:36:25.372-07:00Beethovenianas bolivianas No. 1 / Morenada Montecalva (castellano)<p>
</p><p class="MsoNormal"><b><span lang="ES" style="mso-ansi-language: ES;">Beethovenianas
bolivianas No. 1</span></b></p>
<p class="MsoNormal"><b><span lang="ES" style="mso-ansi-language: ES;">Morenada
montecalva</span></b></p>
<p class="MsoNormal"><b><span lang="ES" style="mso-ansi-language: ES;"> </span></b></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;">Estas dos piezas pertenecen
a una serie de obras breves de corte folclórico que conforman una nueva fase de
colaboración mía con el Trío Apolo. La propuesta de Apolo era que yo escribiera
arreglos de melodías folclóricas para el Trío. Acepté gustoso, con la
contrapropuesta de que la serie incluyera también algunas composiciones
originales. </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;">No es ningún
secreto que el folclore nos define culturalmente. No es el único factor que nos
define, pero es un factor importante. En mi caso el folclore es más importante
aún porque con él descubrí la música y con él di los primeros pasos de una
trayectoria que comenzó en la niñez, cuando conformé un dúo con el inolvidable
Toño Canelas y juntos ambulamos por peñas y teatros en Cochabamba y otras
ciudades. A mis trece años me zambullí en la música clásica y no volví a salir
de esas aguas. Pero nunca renegué de mi pasado; al contrario, busqué maneras de
integrarlo a un presente regido por parámetros muy distintos. Toda mi música
tiene un sabor folclórico que es quizá más perceptible para los oídos de otras tierras.
El folclore hace acto de presencia como una dínamo escondida, o como una fuerza
subvertora del orden formal. Aunque he conseguido algunos resultados más afortunados
que otros, es innegable que, si aún existen dos elementos reconocibles – uno clásico
y otro folclórico – existe también una relación jerárquica en la que lo oficial
es lo clásico y lo subversivo es el folclore. </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;">Lo que estas
nuevas composiciones y nuevos arreglos tienen de especial es que invierten las
jerarquías. Los parámetros establecidos son folclóricos, y lo clásico es la
subversión. Así surgen las <i>Beethovenianas bolivianas</i>, que espero
convertir en una serie, y la <i>Morenada montecalva. </i>Creo que los dos
títulos se explican solos. </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;">Septiembre 2020</span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;">© Agustín Fernández
2020</span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal"><span lang="ES" style="mso-ansi-language: ES;"> </span></p>
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<br />
In a motivational sense this work belongs together with the opera <i>Teoponte </i>(1988) and with <i>Souvenir de Teoponte</i> (2012). Both respond to the same background of societal turmoil and failed insurrection.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">One specific episode in Bolivian history, the guerrilla campaign at Teoponte (1969-70), encapsulates the dreams of a generation, its struggle to make those dreams true, and its inglorious, bloody failure.I composed the 1988 opera based on the minimal sources then available, including my own memories. </span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;"><br />
<br />
Only in 2006 was the first serious monograph on the subject published: Sin tiempo para las palabras: Teoponte, La otra guerrilla guevarista en Bolivia by Gustavo Rodríguez Ostria (Cochabamba: Kipus, 2006). Had this book been available in 1988, my understanding of the whole episode would have been substantially different, and my opera would have been much richer as a result. Hence the need to revisit the subject of the opera from new angles. In most cases this ‘revisiting’ is not thematic or otherwise recognisable to the ear.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;"><br />
<br />
‘Profecía’ is a musical illustration to a poem by Franz Tamayo (1878-1956), La profecía de Huaina-Capac, where the dying Inca emperor foretells a grim future of strife and devastation on the land he leaves behind.</span></span></div>
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<br />
‘Plegaria’ is a prayer, although not in the sense of a slow or private meditation, but prayer as an invocation, a gathering of inner energy, a struggle to achieve control, an exhortation, an appeal, a supplication. This has to do with the role Liberation Theology played in the Teoponte episode.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;"><br />
<br />
‘Acción’ relates to the strife itself, musically alluding to the opera’s most violent passage.This work was composed thanks to a commission from The Serge Koussevitzky Music Foundation in the Library of Congress, The Koussevitzky Music Foundation, Inc, for the Momenta Quartet, who gave the first performance in 2014.</span></span></div>
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Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-30439955896626743432018-08-13T14:00:00.001-07:002018-09-07T06:40:37.246-07:00LoA<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><i style="font-family: georgia, "times new roman", serif;">LoA </i><span style="font-family: "georgia" , "times new roman" , serif;">(suggested pronunciation ‘eloway’) is a commission from North Music Trust for Royal Northern Sinfonia and guests, for performance at Sage Gateshead on 22 September 2018 as part of the celebrations of RNS's 60th anniversary. The piece brings together five leading soloists from RNS and four professional guest musicians who have had to adjust their practice to life-changing disabilities.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Undeniably in this project it has been more important than ever to communicate with the players and to assimilate their particularities in order to write suitable parts for each of them. Once these were ascertained, the high musical standard of the guest players made it possible for the creative work to flow without any great sense of impediment. More than one of constraint, the experience of composing <i style="mso-bidi-font-style: normal;">LoA </i>was one of channelling the energy, the struggle and ultimately the triumph of these wonderful players over adversity.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">As will be obvious to many listeners, <i style="mso-bidi-font-style: normal;">LoA </i>is a fantasia on the Northumbrian traditional tune <i style="mso-bidi-font-style: normal;">Lads of Alnwick </i><span style="mso-bidi-font-style: normal;">(</span>first published in 1733). Since I first heard it in 2005 by the Kathryn Tickell Band, this tune has intrigued me for its quirkiness, its tightness of construction and the vertiginous circularity of its design. I have long looked forward to an opportunity to immerse myself in this tune through some kind of creative exploration.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The opportunity has arrived to make a start, thanks to a commission from Royal Northern Sinfonia. I offer the piece to RNS on its 60<sup>th</sup> anniversary, with gratitude for the many magnificent musical experiences the orchestra has given me, including some with my own music.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Making the acronymic title even more suitable for the occasion, in my native Spanish <i style="mso-bidi-font-style: normal;">loa </i>is a word for ‘eulogy’ or ‘praise’, which is what this piece is for Royal Northern Sinfonia. More obscurely perhaps, Loa is the river on the banks of which a small contingent of Bolivian civilians fought to fend off the invading Chilean forces in 1879. The rout of the Bolivians led to their being driven out of their own coastal territory, leaving the country in a landlocked condition Bolivians still consider temporary. This, too, is relevant to some aspects of this piece.<o:p></o:p></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">An alternative version for ten players is also available. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">© Agustín Fernández 2018</span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-24315985941385391882018-05-09T04:25:00.000-07:002018-05-09T04:25:30.015-07:00Tres canciones sobre poemas de Rachel
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="mso-ansi-language: ES;">Agustín Fernández<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES" style="mso-ansi-language: ES;">Tres canciones sobre poemas
de Rachel<o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;">(1976)<o:p></o:p></b></div>
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<br /></div>
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Rachel Bluwstein Sela (1890-1931), known by the pen name of
Rachel, was born in Russia and settled in Palestine from the age of 19. Her
poems possess an extraordinary transparency, conveying simply and briefly
complex feelings of hope, unrequited love, self-doubt, irony, fear of death,
and devotion to the land and landscape of Palestine. She wrote in Russian and
later switched to Hebrew. <o:p></o:p></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">Tres canciones sobre
poemas de Rachel </i>are settings of Spanish translations of three of Rachel
poems. Written in La Paz in 1976 – when the composer was 18 – they belong to a
youthful period of development and discovery. In 1992 the composer destroyed most
of his manuscripts written before 1984. Only a handful of works were preserved,
among them this choral songcycle. <o:p></o:p></div>
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<br /></div>
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In the first song the poet deploys a degree of sarcasm to
describe her own abject infatuation with a man who does not return her love. In
the second song Rachel depicts the enthusiasm for agricultural work shared by
the pioneers in Palestine, with words full of a sunny vitality clouded only by a
wistful mention of her posthumous legacy at the end. The third song stares
death in the face, first protesting that it is too soon, then accepting “the
verdict” and attempting a gracious welcome of the inevitable. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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© Agustín Fernández 2018<o:p></o:p></div>
<!--EndFragment--><br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-82834395057204361662016-12-06T03:37:00.000-08:002018-11-08T02:58:59.142-08:00Souvenir de Teoponte<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Georgia; font-size: 12px; line-height: normal;">
<span style="font-kerning: none;">Teoponte – a guerrilla campaign that in 1970 was the home-bred response to the more famous, but equally unsuccessful one led by Che Guevara three years earlier – is a recurrent theme in my work. It has been the subject for an opera (London International Opera Festival, 1988), a string quartet (Koussevitzky Commission, 2012) and this piece for double bass and piano. The piece recasts the opera’s four-section structure based on an expansion of a chord sequence common in Andean folk music. </span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Georgia; font-size: 12px; line-height: normal;">
<span style="font-kerning: none;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Georgia; font-size: 12px; line-height: normal;">
<span style="font-kerning: none;">The piece was written for James Rapport, who alongside pianist Eduard Lanner gave the first performance at Festsaal, Diplomatische Akademie, in Vienna in 2011. </span></div>
<div>
<span style="font-kerning: none;"><br /></span></div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-55501887929921020032016-11-17T12:53:00.002-08:002016-11-17T12:58:37.836-08:00James's Fire<div style="line-height: normal;">
<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">James Wishart was an inspirational and encouraging supervisor for my studies in composition at Liverpool University. After my masters’ graduation, he surprised me by commissioning me to write a new work for a concert he was going to conduct with the Orchestra of the Metropolitan Cathedral. This was 1986.</span></div>
<div style="line-height: normal; min-height: 13px;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
<div style="line-height: normal;">
<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">My response to this thrilling commission - my first in the UK - was also a response to the military dictatorships I had left behind in South America. In particular to an incident that year, where, during a protest in Santiago, Pinochet’s forces set fire to two students, one of whom died from his burns. The piece, which I entitled <i>Fuego</i>, explored images of fire and violence in some of their possible technical and metaphorical applications to music. After its Liverpool première, the piece went on to be performed in various countries.</span></div>
<div style="line-height: normal; min-height: 13px;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
<div style="line-height: normal;">
<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">In 2016, thirty years after the incident, I had the unexpected opportunity to communicate with the survivor - the one who did not die, Carmen Quintana. On a much more cheerful note, in 2016 James celebrates his sixtieth birthday. For very different reasons, the two living people to whom <i>Fuego </i>owes its existence<i> </i>have been very much in mind lately.</span></div>
<div style="line-height: normal; min-height: 13px;">
<br /></div>
<div style="line-height: normal;">
<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;"><i>James’s Fire </i>weaves together ideas from <i>Fuego </i>in a new, celebratory context. One connecting thread, in my mind at least, is the sense of drive and onward struggle. Another, more tangible connection is the repeated presence of a quotation from James’s <i>Nimue’s Song.</i></span></div>
<div>
<span style="font-kerning: none;"><i><br /></i></span></div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-7503782726032078912014-08-27T01:54:00.000-07:002014-08-28T02:16:50.883-07:00Munirando<div style="font-family: Georgia;">
<span style="letter-spacing: 0px;">para clarinete y piano</span></div>
<div style="font-family: Georgia;">
<span style="letter-spacing: 0px;">(1994)</span></div>
<div style="font-family: Georgia;">
<span style="letter-spacing: 0px;"><br /></span>
<span style="letter-spacing: 0px;">Esta pieza fue compuesta en 1994, por encargo del Dúo Paperhaus de Londres. Comencé a escribirla cuando trabajaba en Dartington College of Arts, y la terminé en Cochabamba, cuando vine a pasar la Navidad. El entonces Director de la Sección Musical del Instituto Laredo, Emilio Aliss, me dio permiso para usar uno de los pianos del Instituto a fin de que pudiera yo seguir componiendo. Tuve que mandar la partitura por DHL, porque los conciertos se acercaban y los músicos necesitaban prepararse. (Recordemos que en 1994 el correo electrónico y los programas computarizados de notación musical aún no eran comunes.) El estreno fue en enero en la Sala Purcell de Londres.</span></div>
<div style="font-family: Georgia;">
<div style="min-height: 14px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<span style="letter-spacing: 0.0px;">La idea de esta obra es cultivar la constancia y hacer de ella el argumento principal. La gran mayoría de los músicos veneramos a Bach. Yo en particular estudié su contrapunto con gran interés en los años setenta, y quise absorber la influencia tonificante de su técnica sin límites. Obras de esa época, como <i>Misa de Corpus Christi </i>o <i>Cantata de Navidad y Epifanía</i>, están llenas de contrapunto inspirado por Bach.</span><br />
<div style="min-height: 14px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<span style="letter-spacing: 0.0px;"><i>Munirando </i>explora no el contrapunto, sino esa otra dimensión de Bach que es el flujo continuo del ritmo, ese discurrir constante y sereno en el que las sorpresas se consiguen no con gestos musicales dramáticos, sino con giros armónicos o melódicos, unos previsibles y otros no, mientras el ritmo transcurre impertérrito.</span><br />
<div style="min-height: 14px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<span style="letter-spacing: 0.0px;">Para los temperamentales y habituados a los extremos, esta misión es difícil de cumplir. No es fácil producir un arroyo plácido cuando se tiene un torrente por dentro. Pero he aquí una de las búsquedas del que compone música: auto-disciplinarse, aunque a veces se parezca más a auto-amansarse.</span><br />
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<span style="letter-spacing: 0.0px;"></span><br /></div>
<span style="letter-spacing: 0.0px;">Hoy resultan quizás obvios los momentos en los que la energía amenaza desbocarse. En esa pugna entre violencia interior y disciplina impuesta reside el carácter particular de esta música. Sus reglas de juego son tan específicas, y tan difíciles de cumplir, que he vuelto a aplicarlas en otra obra para virtuosos, <i>Munirando II </i>para violín y piano. Pienso seguir explorando el mismo formato, como decimos en Bolivia, “hasta aprender”. </span><br />
<div style="min-height: 14px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<span style="letter-spacing: 0.0px;">Agosto de 2014</span><br />
<span style="letter-spacing: 0px;">© Agustín Fernández 2014</span></div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-42990563248247611152014-08-04T08:15:00.003-07:002014-08-05T02:47:16.351-07:00Arreglos bolivianos<!--[if gte mso 9]><xml>
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<b><i><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">A</span></i></b><b><i><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">rreglos bolivianos </span></i></b><b><i><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></i></b></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">(2014</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">)</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Toda
composici</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n es un di</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">logo; para entenderla mejor </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">conviene
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">saber qui</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">nes son los interlocutores. En el caso del arreglo
creativo - y todo arreglo lo es - el di</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">logo es quiz</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;"> </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s rico y m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s complejo de lo normal, ya que se trata de material preexistente
trabajado de una manera nueva. Los autores del material original intervienen en
la conversaci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n, como intervienen algunos de
los personajes a quienes el material viene asociado, por ejemplo sus int</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">rpretes m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s
conocidos. Veamos.</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Ana-Maria
Vera, instigadora de este proyecto, que fue quien abri</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">el di</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">logo y con quien sostuve muchas conversaciones,
habladas y escritas, sobre el material que convendr</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">a elegir.</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Jaime
Laredo, a quien casi todos conocemos s</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">lo de lejos pero hemos reverenciado toda la vida. Y est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">su bella y
superlativamente talentosa esposa Sharon Robinson, otra fuente de inspiraci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n duradera.</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n los j</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">venes m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ú</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sicos de esta, con algunos de los cuales he
trabajado en proyectos anteriores. Conozco su capacidad y sus aspiraciones. Su
participaci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n es central en este di</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">logo; sin saberlo ellos me han dicho qu</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">escribir, y
c</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">mo, as</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;"> </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">como yo<i> </i>les digo qu</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">tocar, y c</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">mo. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">Pese a ese conocimiento previo, que
es parcial, he necesitado orientaci</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">ó</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">n en cuanto a la </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">conformaci</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n exacta de es</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">ta agrupaci</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">ó</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">n,
y las caracter</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">í</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">sticas de
sus distintas secciones. Armando Vera, director de la orquesta, me ha orientado
con paciencia, exactitud y entusiasmo, demostrando generosidad, amor y entrega
a su trabajo.</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n los autores de estas bellas melod</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">as y sus letras. Al relacionarme con su material les
rindo homenaje y les doy las gracias </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">en</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";"> nombre de todos los que
disfrutamos el aporte que nos han dejado. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n los g</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">neros - la
cueca, el taquirari y el huay</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ñ</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">o - y el reto de reproducirlos
con una orquesta de cuerdas de manera fidedigna pero tambi</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n personal. El problema de la fidelidad es el m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s espinoso. </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">É</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">stos son ritmos de danza, habitualmente propulsados por el motor
inconfundible de rasgueos espec</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">ficos en guitarra y en charango. </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">¿</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">C</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">mo lograr esa propulsi</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n con instrumentos de arco, monof</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">nicos, a los que que el h</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">bito del
oyente asocia con la m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ú</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sica cl</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sica?</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n las ciudades a las que se refieren estas
canciones. Son mis ciudades - y yo de ellas - y </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sta ha sido una oportunidad para escuchar lo que me dicen, y
responderles. El di</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">logo es con su ambiente, sus
calles, sus paisajes y por supuesto sus habitantes. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Por encima
de todo est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;"> </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Bolivia, la
voz predominante. Ella nos habla, nos grita y nos susurra todos los d</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">as de la vida. Cuando uno est</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: Georgia;">
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">lejos esa
voz se vuelve interior, pero no por ello se hace menos audible, ni menos
persistente. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<b><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";"><i>Collita</i></span></b><b><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">Taquirari de Fernando Rom</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">á</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">n Saavedra</span></b><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">El tono de
la letra descarta la posibilidad de un tratamiento orquestal de registro </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">pico. Este arreglo se concentra m</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s bien en los matices de intimidad y ternura hacia
la mujer pace</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ñ</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">a, y en el problema de c</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">mo orquestar el ritmo inimitable del rasgueado de
taquirari. La archipopular versi</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n de Wara
me dio la idea de un pre</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">mbulo instrumental simple en
lugar de una introducci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n mel</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">dica. La verdadera introducci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n ocurre despu</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">é</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">s, a manera de interludio antes de la segunda ronda. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<b><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";"><i>Viva mi
patria Bolivia</i></span></b><b><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";"><b>Cueca de Apolinar Camacho</b></span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Esta cueca
no necesita presentaci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n. La cueca</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">, en general,</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";"> </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">como forma orquestal, t</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">al vez s</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">í</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">. No hay muchos precedentes de la reproducci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">del ritmo y g</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">é</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">nero de la cueca </span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">con instrumentaci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n cl</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">á</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sica. Las cuecas para piano de </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">Sime</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-ascii-font-family: Helvetica;">ó</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">n
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">Roncal</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";"> (1870-1953)</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";"> son un ejemplo digno de estudio. En mi arreglo evoco la tradici</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n de las bandas</span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-hansi-font-family: "Arial Unicode MS";">,
</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">sobre todo
en la introducci</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Helvetica;">ó</span><span lang="ES-TRAD" style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-hansi-font-family: "Arial Unicode MS";">n. </span><span lang="EN-US" style="font-family: Georgia; font-size: 12.0pt; mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia;"><o:p></o:p></span></div>
<!--EndFragment--><span style="font-family: Georgia; font-size: 14px;"><b><i><br /></i></b></span>
<b><i><span style="font-family: Georgia, Times New Roman, serif;">Viva Cochabamba</span></i></b><br />
<span style="font-family: Georgia, Times New Roman, serif;"><b>Huayño de José Ferrufino Toranzos</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;">En este caso el diálogo no es s</span><span style="font-family: Georgia;">ólo con una materia prima de melodía y letra, sino también con el arreglo de Los Kjarkas, ya inseparable de este huayño en la consciencia popular. En el nuevo arreglo, momentos fugaces de reflexión aluden a figuras cruciales que hallaron su cuna o su tumba en estos valles aguerridos. </span><br />
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<span style="font-family: Georgia;"><b><i>Pensando en ti</i></b></span><br />
<span style="font-family: Georgia;"><b>Taquirari de Nicolás Menacho</b></span><span style="font-family: Georgia;">Pocos han conseguido captar y expresar el alma cruceña con la claridad y profundidad de Nicolás Menacho. Sus taquiraris son de lo más exquisito que ofrece la música boliviana. <i>Pensando en ti</i> siempre me ha parecido uno de los más perfectos. Lo arreglé hace muchos años para orquesta de cuerdas, a pedido de Rogers Becerra para algún proyecto suyo. Lo vuelvo a arreglar ahora para estos tres artistas extraordinarios, con gran admiración por ellos, y con la intensidad de un mundo de recuerdos de mi infancia montereña. </span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-35986239027216661022014-03-04T05:50:00.001-08:002014-03-04T05:51:41.137-08:00Munirando II<span style="font-family: Georgia;"><span style="letter-spacing: 0px;">This work builds on the </span>precedent of<span style="letter-spacing: 0px;"> </span></span><i style="font-family: Georgia; letter-spacing: 0px;">Munirando</i><span style="font-family: Georgia;"><span style="letter-spacing: 0px;"> for clarinet and piano (Park Lane Group commission 1995), implying the development of a series of pieces under this title, for a solo instrument with piano. The approach in both pieces is virtuosic and based on the persistence of one type of flow, relying on regular and persistent rhythmic motion. The obvious model in this respect is Bach. </span></span><br />
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<span style="letter-spacing: 0.0px;">To invoke Bach as an influence may seem unoriginal, unless one remembers that regularity of rhythmic flow has been absent from most of the classical music of the last 100 years. Regular rhythm is generally perceived to be at odds with prevailing compositional pursuits focused on an aesthetic of the discontinuous. The exceptions have tended to be pulse-based music from minimalists and post-minimalists, where regularity approaches mechanicity, and where harmony and other pitch-driven developmental processes are de-prioritised.</span></div>
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<span style="letter-spacing: 0.0px;"><i>Munirando II </i>seeks to instal in the listener’s mind a subdivision of the beat into five semiquavers as the norm, adhering to this sub-count so consistently that any departure from it will sound irregular or, as the term for exceptional beat subdivisions goes, ‘irrational’. </span></div>
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<span style="letter-spacing: 0.0px;">My intention is to achieve the above without attracting undue attention to the rhythmic proposition, that is, while ensuring a natural flow that steers the listener’s perception along a middle course. In other words, the aspiration is to produce a rounded piece, not a one-issue or one-technique statement. </span></div>
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<span style="letter-spacing: 0px;">The technical challenges posed by the piece caused its rejection by its commissioner (New York 1998). Subsequent rejections occasioned incremental simplification of the piece, but even in its 2002 version it was declined by several violinists. Eventually Darragh Morgan and Mary Dullea premièred it in London in 2009.</span></div>
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<span style="letter-spacing: 0px;">© Agustín Fernández 2013</span></div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-23973626811790219652010-08-19T10:25:00.000-07:002010-08-19T10:27:09.772-07:00Danzas místicas<div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-size: medium;">Agustín Fernández</span></b></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-size: medium;">Danzas místicas</span></b></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">(2006)</span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-size: medium;">i. pruebas de fuego</span></b></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;"><b></b></span></span><b><span class="Apple-style-span" style="font-size: medium;">ii. claro de luna</span></b></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: medium;"><b></b></span><b><span class="Apple-style-span" style="font-size: medium;">iii. cambios de forma</span></b></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">En una frase muy citada de Octavio Paz, “el poeta no tiene biografía; su obra es su biografía”, se encuentra también la clave del funcionamiento de muchos compositores. Es difícil no experimentar el trabajo creativo como una especie de alquimia que convierte las experiencias de la vida real en música. Así lo experimento yo, y esta obra es un ejemplo claro. </span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">El primer movimiento, titulado “pruebas de fuego” rescata ideas de mi obra </span><i><span class="Apple-style-span" style="font-size: medium;">Fuego </span></i><span class="Apple-style-span" style="font-size: medium;">(1987), llevándolas en una dirección muy distinta. El fuego de 1987 era opresivo y político, mientras que el fuego de </span><i><span class="Apple-style-span" style="font-size: medium;">Danzas místicas </span></i><span class="Apple-style-span" style="font-size: medium;">es un fuego que envuelve, prueba el temple, destruye lo débil y consagra lo fuerte, transforma y da energía. </span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">El segundo movimiento, “claro de luna”, refleja musicalmente la luz ardiente y al mismo tiempo helada que arroja la luna sobre la noche, produciendo una quieta efervescencia de voces y presencias que casi siempre callan, pero cobran vida en luna llena. </span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">“cambios de forma” se basa en transformaciones del material anterior. Con intención sinóptica, las ideas que primero fueron violentas y luego nocturnas, ahora se resumen, se comprimen y se reciclan con un carácter de celebración de la energía obtenida. </span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">La obra fue encargada por Northern Sinfonia y estrenada por esa orquesta, bajo la dirección de Thomas Zehetmair, en el Festival de Huddersfield de 2006.</span></span></div><div style="font: 12.0px Georgia; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-size: medium;"><span style="letter-spacing: 0px;"></span></span></div><div style="color: #333233; font: 12.0px Georgia; line-height: 20.0px; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: medium;">© Agustín Fernández 2010</span></span></div>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-69860306654212530042010-02-22T21:37:00.000-08:002010-08-19T10:27:50.090-07:00String Quartet No. 1, Montes'<div class="MsoNormal"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Agustín Fernández<o:p></o:p></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">String Quartet No 1, ‘Montes’<o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; tab-stops: list 54.0pt; text-indent: -36.0pt;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">i.</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> </span></span></b><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">City of Silence<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; tab-stops: list 54.0pt; text-indent: -36.0pt;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">ii.</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> </span></span></b><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Gate of the Moon<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; tab-stops: list 54.0pt; text-indent: -36.0pt;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">iii.</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> </span></span></b><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Music and Land<o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">This work is a musical tribute to the Bolivian painter Fernando Montes, who died in January 2007 in London. The quartet is in three movements, each addressing one of Montes’s paintings. In some cases the connection is structural, extracting ideas for the organisation of musical material from the layout of the images. In all three cases, the music is an exploration of expressive resonances perceived from the paintings, as well as a reflection on the shared aspects in the painter’s and the composer’s backgrounds. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Thus, ‘City of Silence’ evokes the hieratic starkness of the eponymous painting. ‘Gate of the Moon’ explores an idea suggested by the painting – where a silver light radiates from the centre outward – and builds on material from ‘mooncast’ from my </span><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Mystical Dances. </span></i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> ‘Music and Land’ takes Montes’s idea of two drummers and a piper to generate music that has some of the character of Andean pipes’ playing with percussive accompaniment.</span><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The piece was first performed by the Momenta Quartet on 28 November 2007 at Rock Hall Auditorium, Philadelphia.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">© Agustín Fernández</span></div>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-73398037411700999512010-02-21T10:22:00.001-08:002010-02-21T10:22:47.627-08:00A to Z<!--StartFragment--> <br />
<h1><span style="font-family: Georgia;"><span class="Apple-style-span" style="font-size: medium;">A to Z (2001-2002)</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></h1><div class="MsoNormal"><span style="font-family: Georgia;">This is an ongoing cycle of small études exploring the technical and expressive possibilities of various combinations of flutes and guitars, played by two performers. The work is being written specially for Stefan Östersjö and Terje Thiwång. When they gave the first performance in Malmö in April 2001 there were four études. Today the series consists of nine, with transitional passages added to facilitates instrument changes. The first performance of this fuller version took place in Stockholm in 2005.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><!--EndFragment-->Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-32138765561909417142010-02-21T10:21:00.000-08:002010-02-21T10:26:15.183-08:00Wounded Angel<h1><span style="font-family: Georgia;"><span class="Apple-style-span" style="font-size: medium;">Wounded Angel </span></span><span style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-size: medium;">(1989)</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></h1><h1><span style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-size: medium;">The title is borrowed from that of a painting by the Finnish painter Hugo Simberg (1873-1917), in which two peasant children are depicted carrying an injured angel on a stretcher.</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></h1><h1><span style="font-family: Georgia; font-weight: normal;"><o:p><span class="Apple-style-span" style="font-size: medium;"> </span></o:p></span></h1><h1><span style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-size: medium;">The music was conceived as a prelude to the picture, in which I attempt to explore the inexplicable: what happened just before the scene Simberg depicts? The end of the piece should be the start of the painting.</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></h1><h1><span style="font-family: Georgia; font-weight: normal;"><o:p><span class="Apple-style-span" style="font-size: medium;"> </span></o:p></span></h1><h1><span style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-size: medium;">My </span><i><span class="Apple-style-span" style="font-size: medium;">Wounded Angel </span></i><span class="Apple-style-span" style="font-size: medium;">was realised at the studios of City University, London, and first performed – in an earlier version – by myself at the Stedelijk Museum, Amsterdam, in 1989. It is available in two recordings: by myself on NMC (</span><i><span class="Apple-style-span" style="font-size: medium;">Mixed</span></i><span class="Apple-style-span" style="font-size: medium;">), and by Stefan Östersjö on dB (</span><i><span class="Apple-style-span" style="font-size: medium;">Playtime</span></i><span class="Apple-style-span" style="font-size: medium;">)</span></span></h1>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-38590109696508839712010-02-14T13:55:00.000-08:002010-02-14T13:55:25.779-08:00Peregrine<b>Programme note 1</b><br />
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<b>Agustín Fernández: Peregrine</b><br />
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The title refers to a number of different things: to a falcon, to something outlandish, to a literal translation of the Spanish for ‘pilgrim’ (peregrino), and hence to a poem by the Bolivian poet Ricardo Jaimes Freire: <i>Peregrina paloma imaginaria </i>(literally ‘peregrine imaginary dove’, but the main thing here is the rhythm formed by the words in Spanish). The lone, high-flying predator, often a condor or an eagle, is a recurrent theme in Bolivian folklore. So is the dove as a symbol of gentleness and love. What happens when the two meet? This musical exploration tests the extent to which lightness of texture can survive an accumulation of rhythmic impetus.<br />
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Peregrine was commissioned by Joel Sachs for the New Juilliard Ensemble, who gave the first performance at Lincoln Center in December 1996. The Tyneside ensemble Vaganza performed it in 1997 conducted by Ilan Volkov. The current version is an extensive revision prepared for a repeat performance at Lincoln Center in November 2005.<br />
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© Agustín Fernández<br />
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<b>Programme note 2</b><br />
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</b><br />
<b>Agustín Fernández: Peregrine</b><br />
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There are different possible meanings to the above title; any of them is appropriate to the piece. You can picture a predatory bird soaring through the skies and searching for prey. You can visualise the ruthless hunter swooping down on an innocent lamb. In the lyrics of some folksongs I heard in childhood, the high-flying bird is a spy, commissioned to come back and tell you what the person you desire gets up to when you cannot see them. Or you can think of a pilgrimage from place to place, or from rock to mountain. While admitting of these associations, this piece of music deals specifically with flight, the kinetic phenomenon. The prowess of defying gravity to take off and ascend, the gathering of momentum in the air, the calm confidence of gliding with motionless wings, and above all the exhilarating daredevilry of seeing how low it is possible to go without coming crashing down. <br />
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<i>Peregrine</i> was commissioned by Joel Sachs for the New Juilliard Ensemble, who gave the first performance at Lincoln Center in December 1996. The Tyneside ensemble Vaganza performed it in 1997 conducted by Ilan Volkov. The current version is an extensive revision prepared for a repeat performance at Lincoln Center in November 2005.<br />
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© Agustín FernándezAgustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-41621989397563410752009-03-28T07:02:00.000-07:002009-03-28T07:07:15.280-07:00Danza de la loma1986<div>Duración: 11 minutos</div><div><br /></div><br />Compuse esta pieza a pedido de la orquesta de Guildhall School of Music and Drama de Londres en 1986, cuando yo iniciaba un doctorado en la universidad City de la misma ciudad. Después de su estreno, bajo el título inicial de <i>Just a Dance (or Two)</i> la hube de revisar y modificar radicalmente y en su nueva versión, con nuevo título, la han ejecutado el grupo Anemone de York, la Orquesta Sinfónica de la BBC, la Orquesta de Ulster y la Orquesta de Cadaqués. Aunque en este último caso el concierto era del Ensemble de Vientos de dicha orquesta, para mí el concepto de la obra es esencialmente orquestal, de ahí el subtítulo “para orquesta sin cuerdas”.</p><p><br /> <br />El objetivo principal era el de crear música que expresara con colores vívidos el ambiente semi-rural en el que me crié, en Cochabamba, el valle central de Bolivia. Hoy en día Cochabamba es una urbe de carácter eminentemente citadino; cuando yo crecía en ella en los años sesenta y comienzos de los setenta su metabolismo alimentado por el campo era evidente en todos los aspectos, dándole un sabor rural. Yo quería que la música tuviera algo de la cualidad inmediata, tangible y física que tuvo para mí ese entorno, y que de la música se desprendieran los olores, colores y sudores de la tierra, como lo han conseguido pocos hasta ahora, como Stravinsky en <i>La consagración de la primavera</i>. Por supuesto que mi pieza está construida en menor escala – una estructura de once minutos y no un ballet completo – por eso me pareció importante llamarla <i>Danza de la loma</i>; “montaña” habría sido excesivo para esta modesta duración. Además, el término “loma” se presta mejor para describir un ascenso lento y un descenso rápido, que es la estructura que articula <i>Danza de la loma</i>. </p><p><br /> <br />La modalidad es la de una doble danza, en la que la orquesta se separa en dos mitades, cada una de las cuales ejecuta su propia danza y se atiene a ella a todo trance, avanzando gradualmente hacia su clímax. En la versión original la simultaneidad de las dos danzas era constante y el clímax era simultáneo, mientras que en <i>Danza de la loma</i> las danzas muchas veces alternan para poder registrarse en la percepción del oyente, y a medida que se acercan a su clímax requieren de toda la orquesta para conseguir la intensidad necesaria, forzando así una alternación por razones de orquestación.Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-55408075345081823452007-07-07T05:15:00.000-07:002007-07-07T05:22:19.727-07:00Trío (en castellano)Agustín Fernández <br />Trío <br /><br />i. Preludio con vaticinios<br />ii. Nana con despedida<br />iii. Final con campanas<br /><br />Esta obra ha sido compuesta especialmente para el Trío Apolo, a quienes está dedicada y quienes la han encargado con el apoyo de la Fundación Arnoldo Schwimmer. Fue completada en febrero de 2003 y estrenada en septiembre del mismo año en el Teatro Achá. Posteriormente fue ejecutada varias veces por el mismo Trío Apolo en Bolivia, por el Trío Cuckson/Gross/Fisher en el festival Summergarden de Nueva York en julio de 2006 y por miembros de Northern Sinfonia en marzo de 2007.<br /><br />El primer movimiento presenta una idea breve y recurrente que en cada aparición provoca una secuela distinta, a la manera de una profecía que se cumple por el hecho de haber sido proferida.<br /><br />En los otros dos movimientos empiezan a surgir, como sobrevivientes de historias pasadas, ideas de obras anteriores. Esto se debe a las condiciones en las que fue compuesto el Trío. Por ejemplo, reflexionar sobre una partida en “Nana con despedida” me hizo recordar un momento equivalente de mi colección de piezas para charango y flauta <i><b>A to Z</i></b>, escrita un año atrás. Del mismo modo, cuando yo trabajaba en el tercer movimiento de este Trío al mismo tiempo se preparaba la guerra contra Irak, tema que invadía las conversaciones y preocupaciones de muchos, y este compositor no era la excepción. Recordé haber tratado el tema de preparativos bélicos en mi ópera <b><i>La rueda</i></b>, y quise volver a elaborar material de una escena en la que el héroe bufonesco se jacta de sus recién aprendidas tácticas de guerra, que él ya considera invencibles. Cerca del final, el cello evoca una frase de otra obra mía, <b><i>Acercándose a Melmoth</i></b>, en la que el barítono arremete contra una humanidad que permite que haya niños hambrientos: Hombres, hombres, ¿qué es lo que persiguen? ¿qué es lo que les apasiona? <br /><br />Las exigencias texturales del tercer movimiento – que obligan a los instrumentistas a producir sonoridades inusualmente densas – me han sugerido la idea de arreglar el Trío para orquesta de cuerdas y piano. La obra resultante se titula Una música escondida y fue estrenada en Inglaterra en mayo de 2004 por Northern Sinfonia.Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-26831283415797138232007-04-12T09:26:00.000-07:002007-08-01T05:07:19.637-07:00Mystical Dances (in English)<b>Agustín Fernández<br /><i>Mystical Dances</i><br />(2006)<br /><br />i. ordelfire<br />ii. mooncast<br />iii. shapeshift</b><br /><br /><br />In a much-quoted phrase, Octavio Paz wrote: “the poet has no biography - his work is his biography”. I think of that when I find myself attempting an alchemy where personal experiences become music, and new pieces pick up the thread of previous ones like new chapters of the same novel. <i>Mystical Dances</i> charts some of the processes unleashed by encounters with mysterious forces, voices and presences experienced in rural Northumberland, so radically different and yet in some respects so eerily similar to my native Bolivia. On a more personal level, it has to do with a once-in-a-lifetime change of direction in pursuit of a truer self and a truer other.<br /><br />The work is in three movements, following the age-old lively/slow/lively pattern. ‘ordelfire’ develops ideas associated with burning, first explored in my work <i>Fuego</i> of 1987, but taking them in a totally different direction. If the intention then was to explore fire as destructive violence, now the fire is a force that engulfs, cleanses, transforms and gives energy. The second movement, titled ‘mooncast’, tries to depict the burning light cast by the full moon over the hills of Northumberland. ‘shapeshift’ was titled before it existed, and once written its title proved its fate, as the music had to be re-written since the first performance. It deals with mutations of the preceding material, which in turn adopt ever new guises.<br /><br /><i>Mystical Dances</i> was commissioned by Northern Sinfonia, who gave the first performance at the Huddersfield Festival in 2006. It was performed again by the same orchestra conducted by Alexander Shelley in August 2007 at The Sage Gateshead .<br /><br />© Agustín Fernández 2007Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-75923373663758575042007-04-12T06:02:00.000-07:002007-04-12T09:35:49.748-07:00Fuego (in English)<b>Agustín Fernández<br /><i>Fuego</i> <br />(1987)</b><br /><br />The title of this work refers to an utterly unromantic kind of fire: the fire that, on 2 July 1986, burned two Chilean students outside Santiago. It was a man-made fire, resulting from soldiers pouring kerosene and deliberately setting the youngsters alight. This was, it seems, some kind of exemplary punishment Pinochet’s people had wanted to impart; for this purpose, they picked their two victims apparently at random from a dispersing crowd during a national strike.<br /><br />Fire had been a pervasive element of Chilean life during this period. The presidential palace had burned as Pinochet came to power, civil rights campaigner Sebastián Acevedo had burned himself alive in protest at Pinochet’s atrocities, and candles had been lit in the streets at night to commemorate the dead in the mid-1980s.<br /><br />In 1987 this piece was a protest too, as well as a threnody for the dead and a eulogy for the courage of those Chileans who, in the face of real danger, revolted on. But also, I confess, <i>Fuego</i> is an expression of fascination, of hipnosis at this strange recurrence of fire. The changing guises of fire in different situations suggested the structure: a theme and seven variations.<br /><br /><i>Fuego</i> was commissioned by the Orchestra of the Metropolitan Cathedral of Christ the King, Liverpool, and it was first performed by them under James Wishart, at the Cathedral, on 23 May 1987. It is dedicated to the two victims, Rodrigo Rojas de Negri and Carmen Gloria Quintana.<br /><br />© Agustín FernándezAgustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-8035901971157124680.post-31263266350188224192007-04-12T05:59:00.000-07:002007-04-12T09:36:21.061-07:00Fuego (en castellano)<b>Agustín Fernández<br /><i>Fuego</i> <br />(1987)</b><br /><br />El título de esta obra se refiere a un tipo nada romántico de fuego: el fuego que el 2 de julio de 1986 quemó a dos estudiantes chilenos en las afueras de Santiago. No fue un fuego accidental, sino hecho a propósito, cuando soldados de Pinochet usaron queroseno y fósforos con la intención de quemar a los dos jóvenes. Según parece, se trataba de una suerte de castigo ejemplar que las Fuerzas Armadas chilenas habían querido imponer, y con tal motivo habían escogido a sus víctimas más o menos al azar, cuando dispersaban a una manifestación durante una huelga general.<br /><br />El fuego es un elemento que adquirió un poder simbólico en la vida chilena de este periodo. La casa presidencial (La Moneda) ardió cuando Pinochet subió al poder. El activista Sebastián Acevedo se prendió fuego en protesta por las atrocidades del régimen. La población solía encender velas de noche en memoria de los muertos incontables.<br /><br />En 1987 esta pieza fue también una protesta, además de un treno por los muertos y un elogio al coraje de los muchos chilenos que, de cara al peligro de muerte, se rebelaron. Pero esta música es también, lo confieso, una expresión de fascinación, de hipnosis ante esa extraña recurrencia del fuego. Las mutaciones del fuego en distintas situaciones me dictó la forma: un tema y siete variaciones. <br /><br /><i>Fuego</i> fue escrita por encargo de la Orquesta de la Catedral Metroplitana de Cristo Rey, Liverpool, y fue estrenada por esa orquesta bajo la dirección de James Wishart, en la Catedral, el 23 de mayo de 1987. La pieza está dedicada a las dos víctimas, Rodrigo Rojas de Negri y Carmen Gloria Quintana.<br /><br />© Agustín FernándezAgustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0