Pronto me di cuenta de que no era tan fácil 
Tamloco difícil 
Tamloco difícil 
"Adivina Musicanza 4"
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La verdad es que yo no la conocía. Pero para algo están las pistas… 
A ver si ésta es más fácil. Ya anticipo que la obra es "bastante" conocida. El fragmento está puesto a mala leche (con perdón
), pero si nadie lo saca, estoy seguro que con un sólo segundo más ya será muy fácil.
A ver, a ver:
A ver si ésta es más fácil. Ya anticipo que la obra es "bastante" conocida. El fragmento está puesto a mala leche (con perdón
), pero si nadie lo saca, estoy seguro que con un sólo segundo más ya será muy fácil.A ver, a ver:
Ante las 3 descargas y ningún avance, pongo un fragmento un poquito mayor. Creo que ahora estará más claro:
Innisfree escribió:¿La noche transfigurada de Schoenberg?
. Y no es que ande lejos cronológicamente.lusho escribió:El primer movimiento del cuarteto de cuerda de Debussy
Bravo, Lusho. Hacía tiempo que no disfrutábamos de su sabiduría. Acaba de ganar 3 puntos y entra pisando fuerte. Su turno.
Es una obra a la que le tengo bastante cariño.
Actualizo
7 - asrael
6 - hollenius
6 - Innisfree
3 - apesardetodo
3 - lusho
Y si a sus señorías les parece bien, subo un cachico de partitura, que hace mucho que no vemos algo escrito por aquí (además, muuuy facilito y curioso donde los haya)
En vista de que van 7 descargas y ninguna respuesta, romepré el hielo. No conozco la obra, pero diré que es un concierto para guitarra (espabilao que soy… ). El autor… mmmm… yo qué sé!… Americano? Y la época, digamos que mediados del siglo XX.
A ver si me aproximo en alguna cosa.
). El autor… mmmm… yo qué sé!… Americano? Y la época, digamos que mediados del siglo XX.A ver si me aproximo en alguna cosa.
Vaya si te has aproximado. Es un concierto para guitarra, de un compositor americano y de mediados del siglo XX, exactamente de 1951!!
Ya te digo yo que sí...
Heitor Villa-Lobos (1887 - 1959)
Concerto for Guitar and Orchestra
One could scarcely imagine a sharper contrast than that between the conservative (no 'ologies' or 'isms') and economical Castelnuovo-Tedesco and the colourful extrovert and largely self-educated Heitor Villa-Lobos, the blender of Brazilian folk elements with those of European art music. Of the three composers in this recording he was the only one who had some skill with the guitar, for which he had written a few small pieces before his meeting with Segovia in Paris in the 1920s. Though Villa-Lobos left comparatively few works for the guitar, the Twelve Studies (1929), Five Preludes (1939-40), the Suite (1908-1912) and the Guitar Concerto (1951) have become world-wide standard repertory for the instrument. The Concerto was written for Segovia, who premiered it in February 1956. He did so only after Villa-Lobos had added the cadenza - there was one in the Harp Concerto, written for Zabaleta, so why not one for the guitar? - and the original title of "Fantasia concertante" was changed. Villa-Lobos approved of the use of a microphone by the soloist, "in order that he may play with greater freedom"; Segovia never agreed with this, nor has Rodrigo ever done so - claiming it to be unnecessary in the performance of his works.
The orchestra briefly introduces the first movement before the guitar enters with the energetic, wide-ranging first subject. The second, somewhat slower, recalls (but does not quote from) the folksongs of north-east Brazil; here the guitar deploys chords and harmonics. Again after a short introduction (flute and clarinet) the guitar begins with the main theme of the second movement, a melody of 'popular' character in 3/4 time, which returns in varied form after the expressive central section (6/8 time) and before the coda.
Here the cadenza is interposed, a lengthy and virtuosic mulling-over of the Concerto's thematic material. The Finale has several time-changes (3/4, 2/4, 6/4 etc.), a variety of thematic material and a great deal of syncopation. The guitar is partnered by other solo instruments (clarinet, oboe, bassoon, viola and horn) in displays of contrasting tone-colours, and, once having begun, the soloist hardly pauses for breath before the end of the stimulating kaleidoscope.
This recording brings together three of the most important guitar concertos written in this century, by composers of three different nationalities -and in three very different styles.
Heitor Villa-Lobos (1887 - 1959)
Concerto for Guitar and Orchestra
One could scarcely imagine a sharper contrast than that between the conservative (no 'ologies' or 'isms') and economical Castelnuovo-Tedesco and the colourful extrovert and largely self-educated Heitor Villa-Lobos, the blender of Brazilian folk elements with those of European art music. Of the three composers in this recording he was the only one who had some skill with the guitar, for which he had written a few small pieces before his meeting with Segovia in Paris in the 1920s. Though Villa-Lobos left comparatively few works for the guitar, the Twelve Studies (1929), Five Preludes (1939-40), the Suite (1908-1912) and the Guitar Concerto (1951) have become world-wide standard repertory for the instrument. The Concerto was written for Segovia, who premiered it in February 1956. He did so only after Villa-Lobos had added the cadenza - there was one in the Harp Concerto, written for Zabaleta, so why not one for the guitar? - and the original title of "Fantasia concertante" was changed. Villa-Lobos approved of the use of a microphone by the soloist, "in order that he may play with greater freedom"; Segovia never agreed with this, nor has Rodrigo ever done so - claiming it to be unnecessary in the performance of his works.
The orchestra briefly introduces the first movement before the guitar enters with the energetic, wide-ranging first subject. The second, somewhat slower, recalls (but does not quote from) the folksongs of north-east Brazil; here the guitar deploys chords and harmonics. Again after a short introduction (flute and clarinet) the guitar begins with the main theme of the second movement, a melody of 'popular' character in 3/4 time, which returns in varied form after the expressive central section (6/8 time) and before the coda.
Here the cadenza is interposed, a lengthy and virtuosic mulling-over of the Concerto's thematic material. The Finale has several time-changes (3/4, 2/4, 6/4 etc.), a variety of thematic material and a great deal of syncopation. The guitar is partnered by other solo instruments (clarinet, oboe, bassoon, viola and horn) in displays of contrasting tone-colours, and, once having begun, the soloist hardly pauses for breath before the end of the stimulating kaleidoscope.
This recording brings together three of the most important guitar concertos written in this century, by composers of three different nationalities -and in three very different styles.
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