The romantic musical period got his name for the medieval "romances" histories and poems about heroic persons, writings in the national language, more than in the Latin, which could only be read by the scholars and the ecclesiastics. During the baroque and classic periods the music was impersonal and generally it was concentrating on God or was dedicated to. The "romanticism" emphasized the freedom of expressing the personal feelings, not only in music but also in the painting, the sculpture, the literature and all the arts.
The exact nature of the mental illness of Schumann has disconcerted the historians for the long time. The development of his symptoms has been studied along all his life and two theories have been proposed put up to realize of his case history. A hypothesis supports that Schumann was schizophrenic. Another opinion proclaims that it was a manic depressive one in his first years, which later developed an organic cerebral complaint …
The "classic" word has gone so far as to mean the artistic music of anyone that is not popular. But really the "classic" period of the music refers only to that one that was composed between 1750 and beginning of 1800. The aristocracy remplazó to the Church in the patroness's role of the music, and he wanted to listen to harmonious and elegant music; this way, the rigid norms of the baroque composition began to leave place to a more confident style.
The universe of baritones of the second half of last century has found very varied representatives. Italy, as in all the epochs, produced theirs, although force is to make to notice that not always exceptional voices were his determinants. Between others, we will mention Dietrich Fischer-Dieskau, Hans Hotter and Giuseppe Taddei, big baritones that did and they do history in the munod of the poetry.
Antonín Dvorák wanted to be the musical spokesman of his country journeying the ways of the melodrama but partly it failed in the determination. On the contrary, the freshness, the sincerity and the vitality of his melodic and rhythmic expression found his best river bed in the forms inherited from the classicism. In an epoch in which the musician was suffering the maximum influence of the literature and of other arts, his work came to reaffirm the force of the laws and of the absolute musical values, even to capture his nationalistic ideal.
The XVIth century in Spain was characterized by the high quality music and the out-standing and influential names for the epoch. It continued the style of the Roman School of Palestrina, but the Spanish contrapuntistas of the previous century had already given excessive samples of his suitability. There stood out several schools as the Sevillian one and the Catalan one, the last one concerning the monastery of Montserrat. In 1548 there is born in the city of Avila the Spanish composer of the excellent XVIth century: Tomás Luis de Victoria.
In the year 1939, Manuel de Falla receives the invitation of the Spanish Cultural Institute of Buenos Aires, which is going to celebrate his XXV anniversary and invites the big Spanish musician to to travel and to lead the commemorative concerts. It is a good motive of leakage of the civil war, and accepted Flaw. After a calm passage, in the Neptunio, Manuel and Maria del Carmen of Flaw arrive at the from Buenos Aires port on October 18, 1939. In Argentina it remained up to his death. In the morning of November 14, 1946, Maria del Carmen found his dead brother, in the bed, like not woken up.
The public that Carmen assisted to the premiere of the opera, on March 3, 1875, did not perceive by no means the historical of the moment, proved to be missed, indifferent, cold. It would be erroneous to speak about finished defeat; perhaps it had been preferable. But precisely this similar increasing indifference they were advancing the acts it did that the composer was falling down in the desperation, of which some eyewitnesses left steadfastness. Three months later, Bizet had died.
In music, the Baroque indicated a period of big development of the vocal and instrumental art, of securing of more complex armonías and major depth of the forms and the feeling. The kings, the princes, the dukes and other members of the nobility were trying to excel themselves some to others for the pomp and the exhibition. The music had progressed very much from the singings and the ballads.
In his speech of May 7, 1794, Robespierre, perhaps remembering the Rousseau skepticism as soon as the value of artists and scientists, transformer of the intelligentsia expressed itself with bitterness about the zeal: "The letters men, in general - it accused - have been dishonored in the Revolution and, for his eternal shame, the reason of the people has done everything herself". Nevertheless, the Revolution had been provided with the adherence of innumerable thinkers and esthetes.
At the beginning of last century, the governing sir Thomas Beecham declared: "There are no composers, they were never and possibly they will never exist". This opinion, which reflects an attitude male chauvinist who has prevailed throughout the centuries over the "inferiority" of the women was the one that has buried and prevented many musical talents from blooming. In spite of the periods of prohibition and prejudice, there has arisen a women's nucleus that they have achieved that they were listening to his voices, his instruments and his music...
"Orkestiké" was meaning, in the classic Greece, "place of dance", and was the place in the theaters, contiguous to the choir located between the stage and the spectators. In the Middle Age, the singing was accompanied by instruments that the Church went so far as to prohibit. Nevertheless, they were rehabilitated according to the sacred music, and when in the 600 they gathered together in front of the scene, the Greek terminology was reborn to designate the above mentioned groups.
On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.
On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.
On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.
On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.
On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.
"The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"
"It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"
"When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"
"When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"
"With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"
Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.
Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.
The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.
75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.
, , , , , , , , , , , , , ,