John Rivera Pico | Fronteras

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Fronteras

by John Rivera Pico

Contemporary classical music from Puerto Rico and Cuba.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
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1. Tarantos
4:49 $0.99
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2. Tres Fragmentos: I. Animoso
1:27 $0.99
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3. Tres Fragmentos: II. Amabile
1:38 $0.99
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4. Tres Fragmentos: III. Energico
1:22 $0.99
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5. En Silencio
3:43 $0.99
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6. Bato
5:49 $0.99
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7. Criptico No. 4
3:12 $0.99
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8. Criptico No. 5
2:19 $0.99
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9. Fronteras
7:15 $0.99
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10. Preludio y Cancion Triste
5:14 $0.99
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11. Sintesis
5:48 $0.99
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12. Fantasia
9:48 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
1. Tarantos

With the piece Tarantos (1974) by the Cuban composer Leo Brouwer we can see the birth of a new stylistic tendency in Cuban music. In Tarantos we can find a similar phenomenon to the one embodied by Argentine author Julio Cortazár in his novel Rayuela (1963). The reason is that the performer can choose the order in which the he wants to interpret the different sections in the piece, following some simple rules pointed out by the composer. The piece has a great number of possible interpretations, making each performance of the work a new listening experience. - John Rivera Pico

2. Tres Fragmentos

Tres Fragmentos for guitar, unifies the aphorisms of the haiku with music expressionism. Both tendencies have had an influence in my evolution as a composer.

Written in 1973, these three brief movements, (alluding to Webern), intent to achieve timbre and coloristic variety in an abstract and fleeting manner. These pieces present a radical aesthetic within my musical proposition. A radicalism expressed in the restriction of the organic sonority and the economy of means, provoking an extreme expressive yield.

I think of these “sonic gestures” like three introverted sighs. In structuring this piece, the musical ideas or motifs do not repeat but are inserted constantly achieving the sensation of abstracted chronological time. Its musical discourse rejects traditional models and is untied to hereditary semantic and syntactic models. There lies the works emancipation and strength. - William Ortiz

3. En Silencio

En Silencio for guitar, is a short work by Cuban composer Carlos Fariñas which shows us one of the many compositional styles that he had. In this case, Fariñas captivates the listener by fusing beautiful melodies with folkloric rhythms; therefore creating an atmosphere that reminds us of music used in films. - John Rivera Pico

4. Bato

[Bato] was written for the First International Guitar Festival of Puerto Rico in 1980. Schwartz based his musical ideas on the descriptive information available regarding the type of athletic competition that took place in Puerto Rico during pre-Columbian times. The angularity and sudden tempo changes as well as the frequent use of contrasting sound colors emulates the imagined physicality of the game.
It was premiered by guitarist Juan Sorroche in 1980, during the First International Guitar Festival of Puerto Rico. It is published by Editions Salabert in Paris. - Francis Schwartz


5. Críptico No. 4 y 5

The Críptico (2014) is a compositional style created by the composer Iván Enrique Rodríguez consisting of the conversion of texts, written by the composer, in short pieces. The metamorphic stage from text to music is fundamental to the work, because each and every one of the letters is assigned a note, which is based on an existing or created by the composer scale. This process creates a "cell" in which each Críptico is based. Something curious about the composition process is that after having created the cell, the composer destroys the text. This allows a free interpretation of the work and/or also makes the interpreter responsible of decoding each Críptico message for a more philosophical and authentic interpretation. - Iván E. Rodríguez
6. Fronteras

[Fronteras] was composed for the renowned Uruguayan guitarist Abel Carlevaro in the summer of 1979 when both Schwartz and the stellar guitarist-composer were visiting professors at the Palestrina Conservatory Guitar Seminar in Porto Alegre , Brazil The two musicians worked feverishly over a 48 hour period with Carlevaro’s wife, Vanni, supplying ample quantities of black espresso coffee to maintain a high energy level. Finally, the result was Schwartz’s “FRONTERAS” (limits, boundaries), a composition that explores the limits of sound colors available to the performer using crossed strings, knocking-scratching-rubbing techniques and a broad palette of harmonic sounds.

Carlevaro, a wizard of guitar technique, wrote extensively on the way to realize the many technical intricacies of “Fronteras”. His “Referencias on Fronteras” is a valuable tool for anyone wishing to perform the work. The New World premiere took place at the Kennedy Center, Washington, D.C. in 1980 while the European premiere occurred the same year at the Erlangen Guitar Week in Germany. - Francis Schwartz

7. Preludio y Canción Triste

Preludio y Canción Triste (1964) for guitar, are two short pieces that were written as two separate works. With time, both pieces became a standard of Cuban guitar repertoire and it would turn into a tendency to play both works together. The piece Canción Triste (Sad Song) was originally written as part of the soundtrack for the 1964-film Soy Cuba, directed by Mikhail Kalatozov. - John Rivera Pico

8. Síntesis

Síntesis, one of my most challenging avant-garde works, was written in 1979, during the modernist music period. The piece proposes to fusion the acoustic properties of the guitar with the fascinating timbres of electronic sounds. The major portion of the sonic material in the work was generated and formed using the resources and techniques of the classic electronic music studio at the State University of New York at Buffalo.

Síntesis is a work “sui generis” in my musical output. Its premise is to achieve a unique musical entity, metaphorically speaking a kind of musical labyrinth that opens different passages to discover and experience another sound world.

Non-tempered and tempered electronic sounds are employed with free twelve-tone pitch elements of the guitar. Sensitive integration and opposing contrasts between the two media modulate the acoustical characteristics creating a display of timbre, texture and a phantasmagoric unfolding.

A point of synchronization between guitar and tape is of utmost importance, while at the same time elements of chance, and also of surprise, are prominent throughout to allow for time discrepancies between man and machine.

I congratulate John Rivera Pico for undertaking this historic recording. – William Ortíz

9. Fantasía

This Fantasía (1971) was the first piece that Cuban composer Harold Gramatges wrote for the guitar. It is dedicated to Cuban guitarist Jesús Ortega, who premiered the work in 1972. The piece has its roots in the tradition of the 16th century Spanish composers such as Luis de Narváez and Alonso Mudarra. The composer uses a very refined neo-classical style that fuses serial elements. In this piece we can admire the lyrical and contrapuntal language that characterizes Gramatges work. - John Rivera Pico
























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