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Carlos Chávez - Piano Concerto (1938/1940) {Eugene List} скачать в хорошем качестве

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Carlos Chávez - Piano Concerto (1938/1940) {Eugene List}
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Carlos Chávez - Piano Concerto (1938/1940) {Eugene List}

Carlos Antonio de Padua Chávez y Ramírez (13 June 1899 – 2 August 1978) was a Mexican composer, conductor, music theorist, educator, journalist, and founder and director of the Mexican Symphonic Orchestra. He was influenced by native Mexican cultures. Of his six symphonies, the second, or Sinfonía india, which uses native Yaqui percussion instruments, is probably the most popular. Please support my channel: https://ko-fi.com/bartjebartmans Concerto per pianoforte e orchestra (1938-1940) Dedication: Eugene List I. Largo non troppo - Allegro agitato (0:00) II. Molto lento (19:55) III. Allegro (29:22) Eugene List, piano and theVienna State Opera Orchestra conducted by Carlos Chávez Early in 1938 Chávez received a grant from the John Simon Guggenheim Memorial Foundation, which provided support for the composition of a Piano Concerto. He set to work in the spring of 1938, finishing the short score by the end of the year. Resumption of work on the orchestration, however, was only possible in October 1940, and Chávez put the final touches on the score on 31 December of that year. The concerto was premiered by Eugene List with the New York Philharmonic Orchestra under the direction of Dimitri Mitropoulos on 1 January 1942. The European premiere was given by Tom Bromley and the BBC Symphony Orchestra conducted by Sir Adrian Boult on 6 September of the same year. The Mexican premiere did not take place until 13 August 1943, with Claudio Arrau and the Orquesta Sinfónica de México conducted by Chávez himself. Chávez revised the score in 1969. Chávez quotes his Piano Concerto to Eugene List, who premiered it. On a folded sheet of music paper, on the front side of which Chávez has penciled For Eugene and on the inside of which he has penciled a six-bar quote from his Piano Concerto, entitling it Concerto for the Piano with Orchestra / Carlos Chávez / Largo non Troppo. Underneath the quote the inscription: This line for Eugene List who premiered this work, In very kind remembrance and with much affection and admiration Carlos Chavez. List in turn called this the most difficult and taxing piano concerto he ever played. Chávez’s Piano Concerto is a work of extreme complexity for the pianist as well as for the orchestra. The monumental first movement is an exhaustive sample of Chávez’s mature musical language, and a magnificent exhibition of the proficiency in composition and orchestration that Chávez had reached. It features abrupt changes from one block of sound to another, often without any transition or preparation; contrasting and sharp rhythms; the use of native scales; unique timbres; the intensive use of percussion; and the piercing sounds of the E-flat clarinet and piccolo. One notable feature found particularly throughout the first movement is a disassociation in terms of register, as well as a rhythmic independence between the different sections to create a musical disorder. The instruments of the orchestra, more than accompanying the piano, seem to be challenging or even fighting against the soloist. At other moments, the piano functions as a voice that is answered, commented on, or contradicted by the community of the orchestra, not unlike the tumultuous music of an indigenous Mexican ritual. Pianist Jorge Federico Osorio, who recorded the concerto with the Orquesta Sinfonica Nacional de Mexico and Carlos Miguel Prieto, who conducted TŌN this past October, described the remaining two movements as follows: “The Second movement starts almost in a void. Slowly, more sounds start coming, almost like the growing sounds of a volcano, with everything moving toward the eruption in the third movement,” and describes the piece as “the most dramatic Mexican concerto.” The artist should belong to his time and has but one means of doing so: by steeping himself in history in order to extract from it the experience of past generations, and by knowing his own world with all its developments and resources, so that he may be able to interpret its own fundamental necessities. —Carlos Chávez, Toward a New Music

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