Marquez: Danzon no. 2 (Peter Stafford Wilson, Westerville Symphony) скачать в хорошем качестве

Marquez: Danzon no. 2 (Peter Stafford Wilson, Westerville Symphony)

Arturo Márquez: Danzón No. 2 Live Performance: May 5, 2019 Westerville Symphony conducted by Peter Stafford Wilson Fritsche Theatre at Cowan Hall, Otterbein University …the range and variety of his music have elevated Arturo Márquez’s (b. 1950) stature as one of the most important Mexican composers of his generation, his use of traditional and popular idioms has inevitably been gauged against that giant of the mid-20th century, Carlos Chávez, a visionary whose works have been compared to the uncompromising political art of Siqueiros, Orozco and Rivera. Márquez’s most popular works have, indeed, played off his use of familiar and traditional idioms, as attested by the many awards he has accumulated. Purists may prefer the edgy avant-garde, yet all over the Americas, especially today, serious composers who acknowledge their populist cultural roots have won increasing acknowledgment in return from hungry follower fans. Danzón No. 2 and Pablo Moncayo’s Huapango have been embraced as unofficial national anthems of Mexico. Márquez relates the inspiration behind his Danzón No. 2, when in 1993 he traveled to Malinalco (near Toluca) with the painter Andrés Fonseca and the dancer Irene Martínez, “both of whom are experts in salon dances with a special passion for the danzón.” That experience, plus later visits to Veracruz and the Colonia Danzón in Mexico City led him “to learn the danzón’s rhythms, its form, its melodic outline” and “to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness…which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape toward their own emotional world.” While the composer says he tried “to get as close as possible to the dance, its melodies and its wild rhythms,” he acknowledges that his symphonic setting “violates” its intimacy, form and harmonic language. The traditional danzón, a salon dance for couples, uses rondo form and is derived from the 19th century contredanse and the Cuban habanera. Michael Scott MacClelland