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Francisco Antonio García | 20th century Spanish music: Voice In Ebony

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Classical: Chamber Music Avant Garde: Classical Avant-Garde Moods: Type: Compilations
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20th century Spanish music: Voice In Ebony

by Francisco Antonio García

Garcia is impressive with his control of dynamics, rapid intervals, quick articulation, and the natural and musical ease with wich he ejecutes multiphonics and other extended techniques. “The Clarinet” march 2010 by William Nichols
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
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1. Cuarteto Agrippa
12:21 $0.99
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2. Love Songs nº1
3:31 $0.99
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3. Love Songs nº3
4:52 $0.99
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4. Mort d'Antigone
5:38 $0.99
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5. Fantasía
8:09 $0.99
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6. Tabulae Saturni
19:09 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
“20th century Spanish music: VOICE IN EBONY”


This recording features several Spanish composers born at different times during the 20th century. They all write in a universal style, and their works have reached international acclaim. The pieces chosen for this CD focus on one of music’s most versatile instruments, the clarinet. As you listen, you will also notice a great variety of subtle gradations in terms of instrumental scoring. Our purpose is to enrich Spanish discography with a series of works never previously recorded, and to present composers whose universal significance far surpasses what we can propose within the limits of a modest selection. These composers are all still writing in the 21st century; they have won prestigious prizes and achieved worldwide renown.

This musical anthology is inspired by an eclectic mixture of arts and passions such as world literature, architecture, Kabbalah ... fantasy and love. It spans a wide range from Sophocles’ Greek tragedy Antigone to the philosophical and kabbalistic treatises of Cornelius Agrippa evoked in Tabulae Saturni. These compositions are not only inspired by literature, but other arts have brought further interrelations into play. The Agrippa Quartet, for instance, was inspired by the architecture of Agrippa’s original pantheon in Ancient Rome. What more could one add to evoke the worldwide ubiquity of Spanish music, without forgetting that love is ‘what makes the world go round’, as clearly expressed in Love’s Song? Last not least, can any creative act take place without the indispensable element of ‘fantasy’?

THE WORKS

“Agrippa Quartet” by Antón García Abril (born 1933 in Teruel)
This work’s thematic elements emerge as an atmospheric evocation. Its large-scale framework abandons traditional formal function and features interesting layerings of harmony and rhythm that coalesce in certain particularly expressive passages. The piece was commissioned by Santander International Festival as an homage to Goffredo Petrassi on the occasion of his 90th birthday. Here, memories and evocations become the work’s true protagonists and determine its musical material. The title harks back to the historical Roman Pantheon built by Agrippa, suggesting a series of architectural and structural ideas within a wide formal concept.

“Love Songs” by Jesús Rueda (born 1961 in Madrid)
This collection of four pieces is considered by its author as a work still in progress, which seems quite natural, considering that they all originate in the celebration of concrete acts. Rueda originally wrote them for piano and violin, but he has scored versions for other instruments as well. His direct, sincere style features melodic lines that plunge the listener into a world of visceral emotions and sensations. Each piece is dedicated to a friend. The first one, dedicated to conductor Fabián Panisello and entitled – for a wedding day –, is an intimate, perfectly balanced dialogue between equal instrumental partners. Dedicated to violinist David Mata, Love Song No. 3 expresses profound, thoroughly evocative emotions.

“Mort d Antigone” by Héctor Parra (born 1976 in Barcelona)
“This work”, the author notes, “is inspired by Sophocles’ tragedy, It explores the possible relations between the human voice and the clarinet (an instrument also requiring the performer to exhale), between verbal and musical language and, by extension, between the frail human condition and a machine created by man himself. Similarities of timbre, along with dialectical oppositions, form a spatio-temporal energetic field where the listener is confronted with highly differentiated musical material and thereby gradually obliged to dissociate perceived musical time from psychological or biological time. Based on the Western concept of tragic time, this temporal flux is achieved through interactive processes modeled on the opposition between the aspirations of figures from Greek tragedy and the limited life options at their disposal, and by a choice of thoroughly malleable musical material.”

“Fantasía” by Jesús Torres (born 1965 in Madrid)
Virtuoso elements in the style of the great Romantic fantasies are prominent in this work dedicated to pianist José Segovia and clarinetist Rafael Albert. Using profound melodic motifs and great rhythmic variety, the composer achieves striking density by applying particular care to the aspect of timbre. Rapid passagework and constant changes of register underscore the work’s “fantasy” character. The piece is not only extremely challenging for the instrumental soloist, but also in terms of ensemble coordination. With certain other works it shares an arresting forcefulness that transcends the technical level and purely musical expression, managing to profoundly stir the listener’s emotions.

“Tabulae Saturni” by Sergio Blardony (born 1965 in Madrid)
Written specifically for Francisco Antonio García and the Modern Ensemble in 2008, this trio was inspired by the “Tabulae Saturni”, a series of magic squares studied by Heinrich Cornelius Agrippa von Nettesheim. Here, the music’s creative tension and aesthetic stance are theoretically undergirded by a series of mathematical procedures designed to dialectically confront rationality with subjectivity. Blardony’s composition presents a continuous texture gradually “negated” by elimination of its elements – one could speak of formal structure based on the principle of silence. The fundamental idea is to create musical elements possessing their own unique sense of direction, like “migratory birds who observe a landscape they recall, even if they have only seen it once before”.





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