Acario Cotapos - Balmaceda, for Narrator and Orchestra скачать в хорошем качестве

Acario Cotapos - Balmaceda, for Narrator and Orchestra

Roberto Parrada (Narr.)/ Chile SO / Victor Tevah (no score after 10 minutes...) "Balmaceda" is a musical story for narrator and orchestra that Cotapos began to compose in 1956, the year of the 65th anniversary of the 1891 revolution, which ended with the death of President José Manuel Balmaceda. Presidential authoritarianism had clashed with parliamentarianism on various occasions. Balmaceda approved the nation's budget without the signature of Congress. This act caused the outbreak of war. The army was divided, with the Navy joining the congressmen starting a military campaign from Iquique against the presidential army, which was eventually defeated. When the revolutionary forces entered Santiago launching themselves into all kinds of excesses and looting, Balmaceda took refuge in the Argentine legation. On September 19, 1891, he committed suicide when he verified the damage that he had caused. The script for Cotapos's work is a personal adaptation of the historical events that occurred between August 29 and September 18, 1891, which synthesizes them as the last day of the President's life. After its premiere in Chile in 1958 the work was presented in Paris where the composer Olivier Messiaen wrote the following phrases: Cotapos is a true revolutionary in music. Not only is his language new, but even the images he suggests and the emotional content of him come from a different inner world. Acario Cotapos (1889-1969) was a Chilean Composer. He and his family were exiled to Argentina, after the Chilean Civil War, that led to the fall and eventual suicide of then (1890's) president Jose Manuel Balmaceda. Having spent a good part of his childhood in Argentina, he moved with his family to Santiago in 1902 and, in the 1910's, began to participate in the national artistic life. He befriended characters from the musical world, including Alfonso Leng, Alberto García Guerrero and Carlos Lavín. During these years, he also joined the Los Diez group, where he met important national personalities, such as Pedro Humberto Allende, Alberto Ried, Enrique Soro, Armando Carvajal and Eustaquio Guzmán, among others. His training was self-taught, although he received private piano and bassoon lessons, as well as multiple tips from his composer and artist friends, including Edgar Varèse, H. Honneger, André Jolivet, Olivier Messiaen, E. Klaiber and Celibidache. He was inserted into the artistic-literary cenacle of the time, displaying a surprising histrionics and establishing relationships with characters such as Federico García Lorca, Vicente Huidobro, Pablo Neruda, Pablo Picasso, Tristan Tzara and Ramón del Valle-Inclán, with what he nurtured his libertarian spirit of experimentalism unleashed his exuberant imagination and practiced a transcendental and expressive composition based on the subject and not on style. Its form of creation denied all stylistic schools and recognized only the work of one individual, as can be seen in many of his works, for example in Soledad del hombre (1930) and, especially, in the Dionisyos String Quartet (c. 1925) . -------------------------------------------------------------------------------------------------------------------------------------------- Please support this channel   / fyrexia