83 Results for : argentinean

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    The Evolution of the Chilean-Argentinean Andes
    The Evolution of the Chilean-Argentinean Andes: ab 117.49 €
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    Of Silenced and Unheard Voices from the South
    Of Silenced and Unheard Voices from the South - Argentinean Subalternity According to Luisa Valenzuela: ab 68.49 €
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    Argentinean Literary Orientalism
    Argentinean Literary Orientalism - From Esteban Echeverría to Roberto Arlt: ab 74.99 €
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    The 4 Horsemen of the Apocalypse
    The lazy son of an Argentinean beef tycoon becomes a heroic soldier while fighting for the French resistance during WWII. Sweeping epic stars Glenn Ford ("The Big Heat," "Blackboard Jungle"), Oscar-winners Charles Boyer ("Gaslight"), Lee J. Cobb ("How the West Was Won," "The Brothers Karamazov") and Paul Lukas ("Watch on the Rhine," "20,000 Leagues Under the Sea"). Directed by the brilliant Academy Award-winner Vincente Minnelli ("Gigi," "An American in Paris"). with internationally-acclaimed stars Ingrid Thulin ("The Silence," "The Damned") and Paul Henreid ("Casablanca"). This.
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    Theatre
    This début CD of the Miranda Trio covers three centuries of music from three different countries - Russia (the former Soviet Republic), Argentina and France - and includes pieces by well-known and lesser known composers. But here, of course, it is obvious that music has little to do with borders, centuries or names. Going from France to Argentina might seem like a huge leap, yet both Angel E. Lasala and Astor Piazzolla had links with France and Russia. Lasala was an admirer of Mussorgsky. During his younger years, Piazzolla studied piano under a pupil of Rachmaninov, later he would take lessons from the legendary Nadia Boulanger in Paris. Inspired by such composers as Bach, Ravel and Stravinsky, on the one hand, and by jazz on the other, Astor Piazzolla gives new shape to the Argentinean tango and calls his music the Tango Nuovo, or new tango. Here was a composer who considered his music more the listening kind than the dancing kind. Little is known about Angel E. Lasala. We do know, however, that he favoured the combination of flute, harp and voice, which might speak to the great love he had for his wife, the soprano Zulema Castello. The Poemas Norteños are thought to be among his favourite songs. Lasala was born in Buenos Aires and began his career as a concert pianist. Later, after Athos Palma took him under his wing, his interest began to shift toward composing. This developed in a wide range of forms: chamber music, symphonic, religious and theatrical. His work has a distinct character, especially because he managed to fuse inspiration from Argentinean and American music into a single style. A bit of research has revealed something else: Lasala has the same music publisher as Piazzolla. That in itself is an indication of the importance and reputation of his music in Argentina. The poem Viens!Une flûte invisible soupire by Victor Hugo has inspired a number of composers. The first to set the poem to music was Camille Saint-Saëns. His duettino titled Viens! Was written for two voices with piano accompaniment. That piece was published in 1856, the same year the poem was printed (as part of Les Contemplations). Saint-Saëns returned to the poem in 1885, the year of Hugo's death, and composed a second version for voice, flute and piano, titling it Une flûte Invisible. By resetting the poem nearly thirty years later, he may have been bidding a discreet farewell to it's author. Among the other composers who set this poem to music were Léo Delibes (Eglogue, 1863), George Bizet (Après l'hiver, 1866), Bemjamin Godard (Viens!, 1872), Gabiel Pierné (Les Trois Chansons, 1890) and André Caplet (Viens!Une flute invisible soupire, 1900). What drew so many composers to this poem? Could an invisible flute hold such appeal to their imaginations? France is a flute-loving country. Jacques Ibert wrote his Entr'acte for flute in 1935. Debussy said of Iber: "His art is exceptional in it's intelligence, classic sobriety and esprit and 'fantasie dans la sensibilité'". Stylistic classification of works by Ibert is virtually impossible. The composer himself once remarked, " All stylistic tendencies are fine, as long as they are used to create music." Maurice Ravel originally wrote his Cinq mélodies populaires grecque for piano and voice. With Ravel's consent, the renowned French harpist Carlos Salzedo edited the piano score for the harp. The songs were written between 1904 and 1906 to original lyrics that were translated into French by Michel Calvaradossi. Ravel had a great interest in folk music and combined the classical with the contemporary. The completely different states of mind that arise in this piece relate, for instance, to a marriage proposal, macho behaviour and dancing for joy. Remarkably, during the period that this beautiful succession of songs was published, Ravel competed annually in the Prix de Rome (1900-1905) without ever winning. In 1900 and in 1905 the great composer wasn't even admitted to the final round, despite his prominence by 1905. The only living composer on this CD, Belarusian-born Sergey Beltiukov, possess a Neo-romantic, yet exceptionally individual style. He occupies a very special place among the great composers, not merely as the father of the flutist Dasha, but also because his composition was written specially for the Miranda Trio. Beltiukov, a member of the Union of Composers to tell a fascinating story within three minutes. The poem on which the composition is based, The Theatre, is by Bella Akhmadulina, one of Russia's most celebrated contemporary female poets. The Lark by Mikhail Glinka is an old Russian favourite. Originally it was a song on which Mili Balakirev wrote variations, which were later arranged for harp by Xenia Erdeli. It is a virtuoso piece, at times it seems that more than two hands are playing. Besides being a hero to the Russian people, Glinka is the founder of the Russian National Opera. Like many of his contemporaries, he studied in Italy. Most composers of this era shed their roots, but Glinka developed a genuinely classic Russian musical language and had many followers, for instance the magical Group of Five. Mikhail Ippolitov-Ivanov was renowned during his lifetime. He conducted (being the first to perform the Matthäus by Bach in Russia) and played a major role within the music scene. He was the director of the Moscow Conservatory and held several positions at the Bolshoi Theatre. Ippolitov-Ivanov studied composition with Rimsky-Korsakov and the master's influence greatly affected his style. During eleven years in Georgia, where he worked as the director of the Tbilisi Opera, he collected music from that region. Interests in oriental music, particularly the music of ethnic minorities from the former Russian republic, are to be found within his oeuvre. His works were written in a late-romantic idiom and have been profoundly influenced by the Caucasian folk music that he had studied meticulously. Ippolitov's love for the Orient is clearly expressed in the Five songs from Japanese poetry (for soprano and harp) and the Three songs from the poetry of Rabindranath Tagore (for soprano, flute and harp).
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    Waiting for the Sound
    Dirié's music is known for it's expressive, engaging and balanced combination of sonic explorations, enigmatic imaginary stories, and awe inspiring detail and virtuosity. Deep emotive connections run through the musicians who shape these performances, as if holding a precious thread of unspoken or fictitious traditions. Born in Córdoba, Argentina, Gerardo Dirié studied at the Universidad Nacional de Córdoba. Among his teachers were Argentinean maverick modernists César Franchisena and Oscar Bazán, as well as the distinguished music educator Atilio Argüello. After several years of performing rock, early music, conducting chamber music, and teaching in Argentina, Dirié continued studies in the US, earning Master and Doctorate degrees from the Indiana University School of Music, where he studied with Eugene O'Brien and microtonal opera composer and MacArthur fellow John Eaton. As an expert on Latin American Music, during the 1990s he served as assistant director for the Indiana University Latin American Music Center, promoted the repertoire and the composers of the Latin America providing consultation for projects with the American Composers Orchestra, the Houston Symphony Orchestra, the National Geographic, and the TV hit Law & Order, among incalculable number of institutions and musicians around the world. During his residency in Indiana, he wrote music for many stage productions at the Indiana Repertory Theatre, establishing himself as an associate artist of this prime theatre company. He has designed music for directors Libby Apel, Janet Allen, and David Hochoi among others, and created tailored stage music for actors such as Mira Furlan (known to fans through Babylon 5 and Lost) and Tim Green's monumental Almost a Holy Picture (he is widely known for his roles in Clear and Present Danger, and The Insider). Before moving to Australia, he developed several multi arts works/events in collaboration with Academy nominee singer Moira Smiley, violist Stacia Spencer, and choreographer Emily Stuart-Bogart. Dirié's music has been distinguished with awards from Fulbright, ASCAP, the International Tribune of Composers, the National Tribune of Electroacoustic Composers of Argentina, the National Fund for the Arts, and the Encounters of Contemporary Music Foundation. His music has been performed at Town Hall and Carnegie Hall in New York, the Colón Theatre in Buenos Aires, the National Theatre in Taiwan, at the Istanbul International Music Festival, and numerous other concert stages throughout Europe, India, Malaysia, and all the Americas. His music appears on recordings from Aguavá, LAMC, Crystal Records, Melos, DoubleMoon, and his own label Retamas. When time permits, Gerardo loves to play choros on the cavaquinho with his students in Brisbane, and explore musical traditions through his directing the world music ensemble at the Queensland Conservatorium.
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    Dorado
    DORADO ("Gold") the color of fire is a nine-piece work that explores the richness and possibilities of Afro - Colombia drums and rhythms as well the expressive power of improvisation and the beauty of the human voice. This album was recorded with some of the best musicians on the Colombian recording scene and some international guests like: Deby Korn an Argentinean - American singer with a magical voice, Cuban bassist Diego Valdez, Colombian percussionist Jean Paul Garces, Colombian guitarist Alexei Restrepo, Colombia gaita player Wilson Cifuentes, Colombian pianist / keyboardist (composer and creator of this project) Pedro Crump. Production by Toño Castillo and Pedro Crump This album is also a celebration of Colombian musical richness and mixture of races and cultures - mainly native Indians, African descendents and Europeans. Most of the rhythms on this album are of Afro - Colombian origin as well as the drums (tambores de amarre) utilized. The "gaita" is a native Indian instrument. The first titles from this album "Nay La Princesa Esclava" (Nay the slave princes) is inspired on an incredible story we find in the Colombian classical novel "Maria" by Jorge Isaacs. The story tells about an African prices that was captured, enslaved and brought to Colombia to work as a slave serving Maria's family, back in the days of slavery. The eight cut on the album "Encarnacion" is dedicated to the master Afro - Colombian drummer Encarnacion Tovar nicknamed "El Diablo" "The Devil" who recently died and features a beautiful improvisation (soul chanting) by Deby Korn. Pedro Crump is a pianist and composer born in Bogota Colombia in 1959. Crump Studied at Curry College and Berklee College of Music. His approach to composition is through improvisation. He sees the creative process as a permanent quest for magic. The magic we manage to capture in those perfect moments of inspiration when creation happens. Other interests: sculpture, land art, photography and video. Contact Pedro Crump at musicaoceanica@gmail.com ?
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    Unsatisfecho
    Unsatisfecho, the new release from Contramano, is a breakout album. The punky chamber-pop trio has managed to fuse classical and pop sensibilities for a work with all the dramatic strokes of a concept album, yet plenty of spontaneous attitude. ?A new orchestrated sophistication, only hinted at in their self-titled début, is given full range on Unsatisfecho, and Pablo Cubarle's masterful cello is perfectly suited for the deeper emotional depths plumbed here. The title comes from combining the English word unsatisfied with the Spanish word insatisfecho, and while most of the album is in English, there are also songs that address Pablo Cubarle's Argentinian homeland. Contramano is not a political band, but a socially aware one. The title track, Unsatisifecho refers to the state of living in a consumer society gone haywire, among a never-ending quest for more, that's played out by celebrities on reality shows every day. The feeling of frustration can be found on TV Reality, which deals with our culture's obsession with fame, to Jugando with Ghosts, dealing with the millions of undocumented immigrant workers living in the U.S, who are often to referred to as 'ghosts', struggling to survive without family, country and culture. What remains unchanged is Contramano's deft melodies and spot-on songwriting backed by driving rhythms. The band's pop tendencies prove irrepressible, and quirky touches like lightning-fast changes in tempo and Pablo's arching vocal stylings are pure Contramano. Unsatisfecho undoubtedly makes Contramano a band to watch. "This Argentine and Spanish transplant trio happily go dumpster diving for new wave leftovers, but they also hang onto their Latin roots and come up with something quirkier" New York Times "Cubarle has bilingually found a romantic socialist poetry to match his sound, which looks toward the future of all-nations' politics without repressions, without government intervention or class separation." New York Press "Classically trained Argentinean cellist Pablo Cubarle leads Contramano, a largely riff-less punk trio that channels angst through arty-pop prisms in deliriously charming, spirited shows." Flavorpill.
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    Nueva York: Guitar Solos & Latin Songs
    Adam Tully has explored and performed a wide variety of guitar styles. In addition to classical training and experience he has an active career in traditional Latin American music. Born in New York and raised in Washington, D.C., Adam Studied both classical and flamenco music with John Rodgers and Paco de Málaga from elementary to high school. Upon graduation in 1993 from the St. Albans School, he received the Music Award, and subsequently enrolled in the Oberlin Conservatory to pursue classical guitar. In 1995 he spent six months in Buenos Aires studying tango with Anibal Arias, and a year later began working with the Argentinean folk group La Huella, in San Francisco, California, and teaching and performing in La Peña del Sur cultural center. Adam is a Winning Finalist of the Artists International 2001 Annual Auditions, and will be performing a New York Debut recital at Carnegie Hall (Weill Recital Hall) in May 2002. For the last three years he has studied classical and flamenco guitar with Dennis Koster at the American Institute of Guitar (New York), where he now teaches Latin American Music. He has travelled extensively in Latin America, and recently participated in the Fiesta la Guantanamera festival in Guantánamo, Cuba, where his composition 'Papo' made the second round of the Changüí competetion. Currently based in New York, Adam has performed several recitals of classical music in venues such as St. Bartholomew's Church, and recorded his first solo CD in 1999. He performs locally with the Latin American groups Los Jardineros, Los Afortunados, and the Eduardo Parra Group, and completed his first solo tour in Argentina in July 2001. Adam holds a Bachelor of Arts in Music and Latin American literature from New York University.
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    Sketches of Latin America
    David Solis Olson, guitar A finalist and semi-finalist in several international guitar competitions, most notably, the 2002 Music Teachers National Association Solo Competition and the 1994 National Solo Competition of the American String Teachers Association in Cincinnati, Ohio, David Solis Olson is considered to be among the finest classical guitarists of his generation. Mr. Olson has appeared as solo and chamber recitalist in concerts and festivals throughout the United States and in Canada, France and Germany. He has performed at Saint Patrick's Cathedral in New York City and in Eastman Theater in Rochester, New York. Mr. Olson began guitar study at age twelve and has been the recipient of numerous scholarships and accolades. These include: the Performer's Certificate and the George Eastman Merit Scholarship from the Eastman School of Music, and the John G. Welch Scholarship for demonstration of "unusual talent and self-discipline" and the Chancellor's Award of Excellence from the North Carolina School of the Arts in Winston-Salem. Mr. Olson has performed in masterclasses for such classical guitar luminaries as Roland Dyens, Angel Romero, Manuel Barrueco and David Russell and his primary teachers include Nicholas Goluses, Ricardo Cobo and James Ryan. As an advocate for innovative and diverse solo and ensemble programming for the classical guitar, Mr. Olson's recitals feature repertoire ranging in style and character from Bach lute works to Argentinean tangos. Past recitals have included Lou Harrison's "Serenade" for guitar and percussion and Mr. Olson's own transcriptions of Chick Corea's, "Children's Songs," for solo piano. Mr. Olson has opened for rock guitarist Steve Vai. In March of 2008, Mr. Olson was awarded the degree Doctor of Musical Arts in Guitar Performance and Literature from the Eastman School of Music where he held a graduate fellowship. Mr. Olson currently resides in the Charlotte, North Carolina area where he is a freelance guitar instructor and performer.
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