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Spanish Music

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Author Topic: Spanish Music  (Read 1008 times)
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« on: September 04, 2012, 04:12:34 pm »

Concierto Vasco for Piano and Orchestra (1946) by Francisco Escudero
("Basque Concerto")

Martin Imaz, Piano
Bavarian Radio Symphony Orchestra
May 4, 1951

From the collection of Karl Miller

This is a very enjoyable work--  something like Ravel would do if he dedicated a concerto to Basque themes. 

From SpanishCulture.Com

Date of birth
Aug 13, 1913
Date of death
Jul 7, 2002
 Composer and scholar of Basque folklore, in addition to the composer of various film soundtracks.

He was born in Zarautz (Guipúzcoa) in 1913. He was a member of the municipal band of the town where he was born, where he played the flute and oboe. From 1928 he studied at the Music Conservatory in San Sebastián with Beltrán Pagola. That same year he first performed his work entitled 'Cinco piezas para orquesta de cuerda' ('Five pieces for strings'). In 1930 he moved to Madrid to continue his studies at the Higher Conservatory of Music. In 1945 he was appointed director of the Coral Bilbaína choir. He obtained great success with his 'Basque concerto' for the National Orchestra conducted by Ataúlfo Argenta. His music was always inspired by his nationalism, and he made an in-depth study of Basque folklore. He produced several soundtracks for war films. He died in San Sebastián on July 7, 2002.

Naxos Bio

When Francisco Escudero died in 2002, Basque cultural life lost one of its most eminent artists. Composer, conductor and teacher, this distinguished musician spent his life creating an exceptional and very individual catalogue of works embracing almost all musical genres.

Escudero was born in San Sebastián in 1913 and began studying music with Beltrán Pagola and Conrado del Campo in Madrid. In 1932 he travelled to France and Germany where he worked with Dukas, Le Flem and Wolff, dedicating himself on his return to Spain to composing, teaching and conducting. The French influence is discernible in his early works, such as the String Quartet in G, but much stronger is the essentially Basque element to be found in his sacred and stage works, such as the oratorio Illeta and the operas Zigor and Gernika, as well as in the Concierto vasco para piano. Later he tried out more modern techniques to great effect in the Cello Concerto, and his final years were particularly prolific, producing the “Ultreia” Symphony, Sinfonia concertante and the Violin Concerto, among other works. Escudero was awarded the Gold Medal of the Real Academia de Bellas Artes de San Fernando and the Spanish National Music Prize three times. He spent most of his life in his native Basque Country, dying in San Sebastián in June 2002.

Escudero’s artistic sensibility and imagination stretched beyond purely musical considerations; his style is principally characterized by a personal and abstract conception of traditional Basque music, the result of much time spent studying and dissecting its themes and rhythms, and by a sound technical background. This did not prevent his use of the boldest avant-garde sound effects, which he integrated into his own harmonic system, with a kind of tonal freedom that resulted in frequent and unexpected clashes. Never one to refuse a compositional challenge, Escudero always came up with incredibly effective solutions, demonstrating enormous skill in developing and orchestrating motifs to create a musical fabric rich in gesture and chromatic harmony.

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« Reply #1 on: December 11, 2012, 12:50:10 am »

That was the very first recording of Escudero's Basque concerto for piano and orchestra. The BRSo is conducted by Ataulfo Argenta. There is a prety nice new recording on swiss label Claves by Marta Zabaleta and the Basque symphony Orchestra conducted by Arturo Tamayo.

Here is the modern versión of the second movement on YT:

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« Reply #2 on: December 12, 2012, 07:57:45 pm »

Thank you very much, rbert12, for your upload of Ramon Barce's Symphonies 4 and 5 Smiley! I have never heard of this composer and shall look forward to hearing these two symphonies-it's always good to hear more Spanish music, especially symphonies Smiley!
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« Reply #3 on: December 14, 2012, 10:27:11 pm »

Thank you very much, rbert12, for the Bacarisse String Quartet no. 3 Smiley! Thanks to your generosity, I now have more of this wonderful composer's music to listen to Smiley.
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« Reply #4 on: December 15, 2012, 08:29:50 am »

Thanks also from me for the Barce symphonies (for me also an unknown composer) and Bacarisse's Quartet.

Spanish music is still relatively lesser known than it should be.

Thanks again,

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« Reply #5 on: December 15, 2012, 04:07:32 pm »

Spanish music is still relatively lesser known than it should be.

Agree 100% Smiley

Naxos' Spanish Classics series, Claves' Basque Music Collection and the Spanish label Verso have not received the praise they deserve for bringing such wonderful and unknown Spanish composers to light Smiley
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« Reply #6 on: June 10, 2013, 08:13:26 pm »

Many thanks for the Turina Sinfonia del mar Smiley Smiley
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« Reply #7 on: October 01, 2014, 02:19:47 am »

Music of Antón Alcalde

Collected from varied public sources.  To the best of my knowledge, none of these have been offered for sale.

The pattern should soon become obvious, but lately I've been exploring composers for symphonic band.  (It seems that these compositions get their works performed a LOT!)   Some of this may verge towards "Light Classical", but there are some great percussion parts, and some novel sonorities even in the lighter stuff.  And some heavier stuff, as you will see in a future post, that can rival  some of the most serious "traditional" commposers.  In particular, Spain seems to be breeding a LOT of composers in this genre, and has a regular tv show to promote new composers. 

 Anton Alcalde, from Galacia in the NW corner of Spain,  is one of this new breed-- and although some parts of his music may seem a little crowd-friendly, there are some powerful moments to savor, and he's not afraid to challenge you from time to time.  I've really enjoyed his 2nd Symphony, although I am not sure if it really is one....


1. Symphony No. 2, "La Lenda de Paio Gómez Chariño” 
    Utah State University Wind Orchestra,
    Thomas P. Rohrer conductor,
    Spring 2014.

    • 1. A Lenda (The Legend)
    • 2. A Paisaxe (The Landscape)
    • 3. A Battalla (The Battle)

    2.  Dolmen
    Banda de Música Popular de Rubios
    Rafael Dopeso
    V Galician Music Bands Contest. November 2011
    Galicia Auditorium. Santiago de Compostela

    • I. Alla alborada
    • II. Alla balada
    • III. Alla muiñeira

    3.  Symphony 1, Marea Negra ("Black Tide")
    Union Musical de Valladares
    November, 2010

    • I. Amencer nas Rías Baixas
    • II. Prestige
    • III. Marea Negra
    • IV. Marea Branca

    4. Portico
    Banda las Nieves Olivares
    Conductor:  Manuel Granado

    5. Suite Galacia
    Banda Xiuvenil de Xinzo
    Date, Venue unknown

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    « Reply #8 on: October 01, 2014, 02:21:35 am »

    Music of Antón Alcalde-- Part 2

    Program Notes:
    I haven;t been able to find descriptions for all of the works, but I have pretty detailed program notes for the two symphonies.

    1. Symphony No. 2, "La Lenda de Paio Gómez Chariño”

    Notes by composer:

    Symphony No. 2 is the story of a local Galician leader and the battle with the Moors for Seville, Spain, in 1248. The work includes various ethnic and supplemental percussion instruments, and it further uses narrator and vocalist to depict the story—first in ancient Galician, then in the spirit of Moorish prayer, and finally in English.

    The composer describes the piece as follows:

    The Legend of Paio Gomez Charino (Symphony no. 2) was commissioned by The Band of the Rianxo School of Music, for the purpose of being released as part of its seventh anniversary, on the 1st of May 2010, directed by Rafael Callazo Moare. It is dedicated to my companions of this band and its conductor, Rafael Collazo Moares. When I received the task of putting music to a character of the Middle Ages, who participated in the conquest of Seville, was crowned Adelantado Mayor of the Kingdom of Galicia and ancient lord of my native town, there came an interesting idea, since the first contact with the work would be the fusion between the traditional symphonic band and a section of ethnic instruments to facilitate musical description. With this previous idea, The Legend of Paio Goinez Charino, formed into three independent movements:

    I .The Legend. Like all legends, the beginning is surrounded by mystery, giving the option to several possible interpretations according to its narrator (m. 1). The birth of Paio Gomez Charino is supposed to be about the year 1225. The music that reflects the beginning of the legend is built on a style of Gregorian chant. The main theme of the work is presented at the moment of birth, accompanied by the dulcimer as if it were a lullaby (m. 39). All of the childhood of Paio Gomez Charino is described by the harmonic-melodic development of the main theme. Charino, the first Lord of Rianxo, describes his journey to the village of his lordship (m. 89). His arrival in Rianxo is announced by trumpets as the castle gates open (m. 92). Charino Gomez is absorbed by the scenery that unfolds before his eyes, he gazes at the Rianxo River dominated by the eternal sea (m. 96). In a moment of flash he sees a great battle, a battle in which he is in command of a ship (m. 114). As fast as it arrives, the image disappears again showing the eternal sea dominating the Rianxo River in a beautiful sunset.

    II .The Landscape. This movement describes a typical landscape of the time. We see all the neighbors around a campfire. All are sitting on the ground, among pigs, chickens and other domestic animals listening to the songs of a troubadour (m. 154). The ringing of church bells sounds in the air (m. 155). The minstrel recites a ballad about the Lord of the village, accompanied by a popular melody on the flute and the dulcimer (m. 157). Leaving behind this image we walk the streets of the town. The melody presented by the flute before is now taken up in the form of dance, and accompanies us in the overall image of the town (m. 161). Our walk ends at Port Rianxo (m. 249). A magic awakes from the sleeping river that surrounds us (m. 253).

    Fernando III entrusts Admiral Bonifaz with the task of using the army in the Conquest of Seville. Paio Gomez Charino is given the same task (m. 258). Like in his vision, Charino finds himself in command of a ship heading to the Rio Guadaiquivir, participating in the Conquest of Seville (m. 271).

    III.The Battle. The whole symphony leads us to this final movement. We first note the progress of the ship, ascending the Rio Guadalquivir (m. 345). A blanket of fog covers everything, creating a more tense atmosphere for the crew. We observe traces of a different culture, Arab (m. 354). With all of the accumulated tension, Charino encourages his brave warriors to not fear their destiny (m 360). The battle begins by attacking the “Triana Boats Bridge” (m. 384). A spectacular battle between the Christians and the Moro Empire trembles the earth (m. 389). Finally, we see a picture of desolation, describing the harshness of the battle. Seville is conquered by the Christians (m. 511). The coronation of Admiral Paio Gomez Charino as Adelantado Mayor of the Kingdom of Galicia is celebrated with cannon shots in a final explosion of color and timbre (m. 528).

    My Observations-- I've enjoyed this work very much , and have listened to it MA NY times. There are some wonderfully creative passages, somme very powerful writing for brass, and I love the use of the hammered dulcimer (since I play the instrument, always happy to here it used).  The only criticism I'd have is that this doesn't sound like a symphony to me- more like a fusion between Alexendar Nevsky and a Cirque de Soleil soundtrack.  There are some VERy approachable melodies in here, but some moments of dissonance as well. If you  approach this as more of a programmatic work than a symphony, you would be less likely to have your expectations thwarted..

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    « Reply #9 on: October 01, 2014, 02:23:00 am »

    Music of Antón Alcalde Part 3

    3. Symphony 1, Marea Negra ("Black Tide" or "Oil SLick" )
    (Machine translation from Galacian )

    OIL SLICK is a small descriptive symphony, which tells(or rather), describes what  happened in Galicia the fatal day 13 November 2002 Day to remember with sorrow Galicia disaster produced naturally in estuaries because of the oil tanker 'Prestige' carrying 77,000 tons of fuel of which 64,000 were expressed in the Galician coast. Nowadays, there is still fuel inside the tanker, waiting to be extracted from the bottom of the sea. "To my good friends and great composers, Andres Valero Castells, José Carlos and Rafael Collazo will Moar. In memory of Manfred Gnädigner (Man), best known as the hermit of Comella, only human victim of the Prestige oil spill (2002). It is my desire dedicate this work to the thousands of people who helped clean up estuaries and sanitize the coast of Galicia, Galician and others, calls affectionately Tide White. All of them, and thank you because it is forever, NEVER AGAIN. "

    The whole composition revolves around a main theme, introduced at first movement in charge of the oboe, which is added in eachmotion a new leitmotif of galician topic. The reason for the issue has as main feature the main "character marine" in its prime example musician-symbolic. This means that the actual reason, apart from that musically represents, as we join your notes see the silhouette of a wave, (hence the "character marine ").

    I. Awakening in the Rias Baixas: Your cold start and mysterious, creates an atmosphere similar to the calm precedes the storm. From the sea it can see the Galician coast, the all we can see is a thick fog that covers everything. It's like what would happen Gal intuíse a catastrophe ecological (c.1) ... This environment of tension is achieved thanks to the exploitation technique features cutting-edge sound, the sounds onomatopeicos (or environmental simulation), operation sound of the strings, etc. After this mysterious beginning, a solo horn introduces a new atmosphere that contrasts with the previous; this (the difference) is solemn and grand (C.7). Gradually distinguishing the back, valleys and mountains of Gal (c.27). Sound fills the second forward day, to an explosion of color and timbre that symbolizes the awakening in Rías Baixas. The leitmotif used in this movement is the famous occasion of "Daybreak Galician" Pascual Veiga with that for technical harmonic blurring, we get a new approach harder reason the famous dawn, ideal for this work and what is described here. Before this mysterious awakening, captures our attention a tanker called "Prestige", approaching the coast....

    II SMALL Prestige, the collapse: The advance of the Prestige "Coast
    Death "and the sound of the engine room is reflected in section percussion, which has a moment of great virtuosity (c.59).The various metallic sounds are used in this movement for metal symbolize the oil shock and the waves of the sea against hull of the Prestige (c.83). The movement built with different foci tension interspersed with "Flashback" moves us to wake up in the Rías Low and sleepy Gal (c.127), who does not know the catastrophe that you come up ... The whole movement headed into "the collapse" where an insistent rhythm involves the virtuosity of the woods greatness and power metal (c.182). Finally the impressive tanker sinks near the "Costa da Morte", doing honor to his name, a most impressive moment of final explosion when the sea makes disappear the rest of the oil tanker "Prestige" (c.217).

    III.- oil spill: The view becomes inevitable when a stain first fuel reaches Finisterre. The first part of this movement is moment of silence. A moment of tension, which symbolizes the inevitable After all, a slick (c.223). Gulls are trapped in fuel in an attempt to feed, the fish can not go die, the sailors of the sea and the people suffer the consequences, the seabed soon return to recover when everything finished. Ecological catastrophe, two words with the government solves the not have towed the tanker when they had time. The mode metaphor, we can hear the leitmotif of the introductory "Black Shadow "of Rosalia de Castro with music by Juan Montes (c.247). The sound of my voice and harmonica, along with the rest of the people screaming and galician burns in revolt against such misery. Never Again !! screams, but truth was inevitable that it would never be a first ... (c.280)

    White Tide IV: This final movement is a tribute to all those people (and not Galician Galician), which is dedicated to adjust the our estuaries and coasts. This movement is dedicated to all those Tide White, who even came to make great trips to clean a piece of beach, the thing ... After all, people in first marched To Gal in order to help, were living between us. Thank you all and never !!. (c.297)

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    « Reply #10 on: October 01, 2014, 02:24:08 am »

    Music of Antón Alcalde- Part 4
    About the Composer
    (From the Wind Repertory Project)

    Composer and percussionist by trade, Anton Alcalde is professor of percussion and composer in residence at the School of Music from Rianxo. He is essentially an independent and self-taught composer from Galicia (Northwest of Spain), but the following teachers had a decisive influence on his formation: Rafael Collazo Moares, X, Carlos Seráns Olveira, Andrés Valero Castells and the band music of Rianxo, where he started with his first musical lessons.

    In 2009, he entered the world of composition for the audio-visual medium, studying scoring for motion pictures and videogames with prestigious professors including Conrado Xalabarder, Patrick Doyle, Wataru Hokoyama, Michael Giacchino, Andrea Datzman, Alejandro Vivas, and James Shearman . . . and continuing with master classes by teachers of renown such as Oscar Navarro.

    Machine Translation from Galacian in Score for First Symphony:
    Anton Anthony Rodriguez Rianjo born on 3 July 1992 began to study music at eight years age in the School of Music where RIANXO specializes in percussion mode with master Daniel Rivero and musical language with Master Rafael Collazo. At the start of the year in the music enters the Band of Catoria, directed by José Carlos will be master.
    In 2003 attends two improvement courses and master classes in percussion; one in the master Pedro Toledo Varea and another in Vila de Cruces with teachers like Nancy Zeltsman, Nick Woud, Cesar Peris is also this ... course where percussion releases his first composition; Pictures for percussion ensemble, released by
    teachers said course, directing the author. Log in Galicia Philharmonic Band directed by teacher José Carlos evening, being the youngest member of this group.

    In 2004 is presented again to the courses of Toledo and Vila de Cruces, the first being in plays where Grouping Instrumental Conservatory Jacinto Guerrero Toledo, directing the master Enrique García Ansensio. We present the Band of the Catoria Contest III Provincial de Pontevedra, reaching the first prize and mention
    of honor in the 2nd section. Also reaches the place of percussion in Symphonic Band of the Galician Federation Bands Music, directed by José Carlos will be master.
    In 2005 begins his professional studies in the Conservatory of Music Manuel Quiroga Pontevedra, reaching the place in specialty percussion. In this same year the string orchestra of that conservatory releases its composition Triptych for string orchestra and percussion.
    In 2008 premiere in Miniature Overture, a concert in charge of the Association of School Instrumental Music Rianxo, directed by Master Rafael
    Collazo Moar. Reaches the first prize in the II Galician Regional Contest with Band of Rianxo. It releases the first movement of the suite Pinocchio in charge of the Municipal Band of Santiago directed by master Andrés Valero Castells.
    He studied percussion with teachers great prestige as: Daniel Rivero, Tom Risk, Roberto Oliveira, Cesar Peris, Pedro Varea, Nancy Zeltsman, Nick Woud, Tobias Guttmann, Lorenzo Ferrandiz, Ramon Perez, Xavier Sabater, Ali N'Dianye Romain Kuon, Jan Pustjens Bogdan Bacanu, Ruben Montes, Juanjo Guillem, Josep Vicent, Diego Windy ...

    Musical language and studied harmony with master Rafael Collazo Moar, counterpoint and orchestration with master José Carlos will, direction and orchestrating the master Andrés Valero Castells and the creation of the script for the musical audiovisual Xalabarder with Conrad.
    He also studied composition for audiovisual teachers with high prestige as: Patrick Doyle, M. Giacchino, Andrea Datzman, Wataru Hokoyama, Alejandro Vivas, James Shearman ...

    It is a founding member of various groups such as Galician: OKHO, DKD duo, Taiko Drum (before atomic duo), Trisquel ... collaborated on musical projects
    Galicia as our key and Musigalizando.

    He is currently professor of percussion at the Music School of RIANXO (since 2007) and resident composer of this school since 2009 has written numerous works for band, rope[ED: Strings?], voices and ensemble.
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    « Reply #11 on: October 01, 2014, 03:08:33 am »

    Music of Jose Alberto Pina

    Collected from varied public sources.


    1.  Sendes: Variations on the Life of a Mortal
    Banda De Musica Popular de Rubios
    Conductor Rafael Dopeso
    November, 2011
    Auditorio de Galicia. Santiago de Compostela

    • • The Alma
    • • Love
    • • Confusion
    • • Fear and Anger
    • • The Conflagration
    • • Despair
    • • La Soledad
    • • The Longing
    • • The Hope

    2.  Legend of the Maricaibo

    Banda de música de Calasparra (Murcia)
    Director: Julián Andreo Jiménez
    Date, Venue unknown

    3.  The Island of Light
    Banda de Amarante. Portugal
    Dir José Rafael Pascual Vilaplana
    TV Broadcast, Date Unknown

    • 1. Cova d’en Xoroi.
    • 2. Sobre las Nubes.
    • 3. Los Gigantes.

    4. The Bermuda Triangle
    Het Noord Nederlands Jeugd Orkest
    May 13 2012
    Dir: van Erik Janssen

    • I. The Triangle, The Legend
    • II. The Island of Eternal Love
    • III. The End

    Program Notes:


    Machine Translation from Composer's Web Site
    When I started writing this work was clear something and is not intended to write a programmatic piece based on a story, but in an emotional image. My intention was to talk of human beings, represented by means of music, emotions and motivational processes with which it coexists diariamente.Se is a series of variations developed from a technical point of view with the music and I intend to emphasize, as I mentioned above, the life of a mortal, showing a thematic variations while emocionales.Al beginning of the first bars all the thematic material used subsequently headed by a leitmotif in this case consists of three unique is clearly presented notes and representing the human being: RE-MI-SOL.
    Then we heard the main theme we will describe the personality of protagonista.Un bridge will lead us into the life of our character, which will experiencing emotional development to show the different feelings and sensations, which gradually discovers.

    Legend of the Maracaibo

    Machine translation (from spanish) from composer's website.
    When speaking of Santo Cristo de Maracaibo, anyone, including experts distinguish reality from legend. The wreck of the galleon saves tons of gold and mysteries yet to reveal. This beautiful galleon came to America with other boats to the Ria de Vigo. His French escort had recommended him to protect at the approach of an enemy fleet from England and the United Provinces (germ current Netherlands).

    They had "smelled" colonial gold and silver that filled the hearts of the boats lurking. The two fleets engaged in battle on November 5, 1702, just past the Strait of Rande who gave name to the battle.

    Chapters of mystery, adventure and legend that, today, still remain in our waters.

    "The Legend of Maracaibo" is full of energy and intensity with one subject and José Alberto Pina develop this engrossing work that excite both the public and musicians.
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    « Reply #12 on: October 01, 2014, 03:09:41 am »

    Music of Jose Alberto Pina- Part 2

    The Island of Light

    Machine Translation (from Spanish) From composer's Web site
    The symphonic poem "La Isla de la Luz" illustrates legends and places of the island of Menorca.

    In "Cova d'en xoroi" We can hear the legend of a Moorish nicknamed xoroi, who after a pirate assault, was abandoned without being able to embark and was hidden long without anyone knowing. This robbed overnight he needed to feed and during the day hiding in the cave. No one suspected the thief but one day a young woman disappeared. After a few years on the island there was a heavy snowfall and the field was completely covered with snow.

    The next morning some suspicious footprints leading to a cliff above the sea, where they discovered the cave where they found hidden this girl who was already the mother of three children and the pirate to not be a prisoner, he found went under vacuum .

    In "Above the Clouds", the author gets carried away showing us his view of the island from the sky. A movement that keeps a strong emotional content with notes are not intended to describe an image but what causes it in the depths of the composer.

    The work ends with "Giants" who is reported to have worked the stone like a great army it were, built architectural wonders like the famous "Talaiots".

    It is commissioned by the Band of Ferreries (Menorca) on the occasion of its 150th anniversary.

    Bermuda Triangle

    The legend of this mysterious triangle was officially born on September 16, 1950, when the Association sent to the Associated Press reporter EVW Jones to the area bounded by Florida, Bermuda and Puerto Rico to report the mysterious disappearances of ships and aircraft. Other researchers claim that the area of the Bermuda Triangle is home to the legendary lost city of Atlantis. Of course I have never found evidence of neither this nor any existing theories so far.

    Beyond the legend and the terror that can result in the pilots of planes and boats, the islands of Bermuda hold another charm and mysteries that can not spell, you just have to see them and  live them. Also being close to one of the most enigmatic of the world can be quite attractive. For years, the Bermuda Triangle has been a place of research for the many disappearances of ships and aircraft, but is also of Bermuda, where there is also a legend, but of love, which highlights the beauty of the beaches and pink sand. The color of its waters is attributed to love, which is why it is said that couples who kiss under the arches of stone and coral called Moongate have secured the happiness and good fortune.

    About the Composer:
    Autobiographical note from the score for "Bermuda Triangle"
    José Alberto Pina was born in Cartagena in 1984 and began his musical studies as
    percussionist before fully dedicating himself later to Orchestral Conducting and Composition. He finished his studies of Orchestra Conducting with José Miguel Rodilla at the Murcia Higher Conservatoire of Music. He also took advanced courses with such professors as José Rafael Pascual-Vilaplana, Jerzy Salwarosky, John Phillips (King’s College, London) César Álvarez, Jan Cober, Paolo Bellomia (University of Montreal), Frank de Vuyst, Thomas Verrier, Manuel Hernández Silva, Lutz Kholer at the Universität der Künste (UDK) in Berlin, etc.
    His interest in composition is primarily self-taught, although he has attended courses by: Jan Van der Roost, Luis Serrano Alarcón, Oscar Navarro, Arnau Bataller, José Nieto, Eva Gancedo, Luis de Pablo and Antón García Abril.
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    « Reply #13 on: October 01, 2014, 03:38:29 pm »

    Excellent, Mr. Jowcol - was beginning to think I was alone in appreciating a bit of wind band for a change !
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    « Reply #14 on: October 08, 2014, 04:22:01 am »

    Music of Ferrer Ferran

    Collect from various public sources.

    Ferrer Ferran is not only a very prolific composer for symphonic band, but also one whose output ranges from the most audience-friendly to some very muscular work that flirts with the Avante Garde.  In particular, I can't stop listening to his 4th Symphony, the Colossus- it is on the same cosmic level of grandeur as Scriabin's later orchestral works, or the symphonies of Robert Simpson.  This mixes some interesting techniques (bowing a gong, chanting from the musicians), a lot of percussion, a string section only of cellos and basses, a pipe organ, and a wind machine-- there are some very hair raising climaxes in this work, and the end has the same type of primal howl that Scriabin realized at the end of Prometheus.  It also, unlike some of the other Spanish Symphonic band composers I've posted, really deserves to be called a symphony-- it has the architecture and lines one would expect.  Ferran really "owns" the sonorities of a symphonic band, and in this symphony you can hear how much energy one can create when a composer really decides to push the pedal to the floor.

    Program notes are in the download.


    Volume 1: Symphonies, etc. 

    Sinfonia 1- Tormenta del Desierto ("Desert Storm")
    The Royal Windband St.Martinus Opgrimbie/Maasmechelen,Belgium
    Directed by Stephen Walker
    Maaspoort,Venlo,The Netherlands
    October 2002

    • I.- The Invation of Kuwait
    • II.- Curfew
    • III.- Advance of the Allied Troops
    • IV.- Basra Battle

    Sinfonia 2: LA PASSIO DE CRIST

    La Banda de la Asociación Musical San Isidro de Armilla.
    II Concierto de Temporada "Concierto de Navidad"
    Teatro Municipal de Armilla. 15/12/2013.
    Director: José Melchor Perelló Lavilla.

    • I. - Birth. Sacrifice of the Innocents. Baptism. I. Nacimiento...
    • II. - The Three Temptations.II. Las Tentaciones
    • III. - Arrival to the Temple. Santa Cena. Capture. Judgment. Crucifixión. Hope.

    Sinfonia 3: The Great Spirit
    Banda de Música de Lalín. Certamen Internacional de Altea 2010.
    Broadcast on Programa Nuestras Bandas de Música, director Octavio Hernández Bolín.

    I. Gaudi
    II.- Sagrada Familia

    Sinfonia 4: "The Colossus"
    Banda Sinfónica SIMON BOLIVAR
    Ferrer Ferran, director.
    Caracas (Venezuela), 2013.

    I.- Oscuridad (Darknes).
    II.- Duerme (Asleep).
    III.- La Huida (The Flight).
    IV.- El Gigante (The Giant).

    Concert #3 for Symphonic Band
    Banda Sinfónica Unión Musical de Liria (World Premiere)
    Enrique Artiga, director
    Palau de la Música de Valencia.
    Certamen Internacional de Bandas de Música "Ciutat de Valencia",
    July 21, 2013.

    Volume 2: Tone Poems and Programmatic Works 

    EXPEDITION de Oscar Navarro
    Banda Primitiva de Paiporta,
    FERRER FERRAN, Director.
    "Dia de la Música", Auditorio Municipal de Paiporta (Valencia- Spain)
    October 26, 2013

     "THE PATH OF THE DARK SOULS (Terrifying Poem for Symphonic Band)"

    La Banda de Santa Ceciliar de Cullera
    Dir. by Salvador Sebastia Lopez
    Date, Venue Unknown

    La Ciudad Sumergida "The Submerged City"
    Associaçao Recreativa e Musical de Vilela (Portugal)
    Jose Ricardo Freitas, director.
    Date, Venue Unknown
    (NOTE: The last few bars are missing.  I applied a fade to the last ten seconds

    • Omen of the earthquake (presagios del seismo)
    • The destruction of the city. Earthquake of 1692
    • Final submersion (sumersión final)
    • Prayer for the victims of the catastrophe
    • "Port Royal", the new city (la nueva ciudad)

    La Cuidad Supresa "The Suprise City"
    Societa Filarmonica de Bussoleno (Italia),
    Ferrer Ferran, Director.
    Auditorio de Bussoleno, Italy
    April 26, 2014

    La Banda de Música Federal de Navarra
    Composer, Conductor
    November 1, 2011

    Abu Simbel
    La Banda de Música Federal de Navarra
    Dir by Composer
    Teatro Municipal de Ansoain (Navarra)
    November 1, 2011

    Salamon Leyenda Africana
    BandaLarga Valsusa
    Dir: Danilo Trolton
    Concerto di Solidarietà 2013 - Salone Polivalente Bussoleno (TO), Italy
    April 14, 2013

    JUNGLA, Poema Ambientado en la Selva Africana
    Banda Sinfónica SIMON BOLIVAR,
    Ferrer Ferran, director.
    El Palau de la Música de Valencia (España)
    July, 2013

    Union Musical de PonteLedesma.
    Conductor: Roberto Hermida Rey
    VI Galician Music Bands Contest.
    Galicia Auditorium. Santiago de Compostela
    November 2012

    I. Iberia
    II. Grecia
    III. Roma
    IV. Egipto
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    All download links I have posted are for works, that, to  my knowledge, have never been commercially released in digital form.  Should you find I've been in error, please notify myself or an Administrator.  Please IM me if I've made any errors that require attention, as I may not read replies.

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