Silvestre Revueltas(1899-1940)
24 Oct 2010 Leave a Comment
Silvestre Revueltas was born on 31 Dec1899 in Durango, Mexico. He was a Mexican composer, a violinist, and a conductor. He also wrote music for movies and poems. He also played a bar piano player in a movie that he composed the music for. Revueltas studied music in Mexico City, Texas, and Chichago. Revueltas held the post of assistant conductor until 1935. While there he taught violin and composition. Revueltas worked in Spain during the Spanish Civil War. He returned to Mexico where he became an alcoholic and fell into poverty. Revueltas died on 5Oct1940 from pneumonia on the same day his ballet El renacuajo paseador premiered. Revueltas did most of his works during the last ten years of his life.
Discography:
Chamber Works
• El afilador, 1924
• Batik, 1926
• Four Little Pieces for String Trio, 1929
• Homenaje a Federico García Lorca, 1936
• Ocho x radio, 1933
• Planos, 1934
• String Quartet No. 1, 1930
• String Quartet No. 2, 1931
• String Quartet No. 3, 1931
• String Quartet No. 4, Música de feria, 1932
• Tres piezas, for violin and piano, 1932
• Éste era un rey 1940
• First Little Serious Piece, for chamber ensemble, 1940
• Second Little Serious Piece, for chamber ensemble, 1940
Orchestral Works
• Pieza para Orquesta, 1929
• Alcancías, 1932
• Caminos, 1934
• Colorines, 1932
• La coronela (orch. by Moncayo and arr. by Limantour)
• Cuauhnáhuac, for string orchestra, 1930; revised for full orchestra, 1932
• Danza geométrica (orchestral version of Planos), 1934
• Esquinas, 1930
• Itinerarios, 1938
• Janitzio, 1933 (rev. 1936)
• Música para charlar, 1938 (from the film score of Ferrocarriles de Baja California)
• El renacuajo paseador, 1933
• Sensemayá, 1938
• Toccata (sin fuga), for violin and chamber orchestra 1933
• Troka, 1933
• Ventanas, 1931
Ballets
• La coronela, 1940 (unfinished; a completion by Blas Galindo and Candelario Huízar lost)
• El renacuajo paseador, 1936
Film Scores
• Bajo el signo de la muerte, 1939
• Ferrocarriles de Baja California, 1938
o selections reworked as Música para charlar
• El indio, 1938
• La noche de los mayas, 1939
• Redes, 1935
• ¡Vámonos con Pancho Villa!, 1936
Songs
• “Canto a una muchacha negra” (words: Langston Hughes), voice and piano 1938
• Cinco canciones para niños y dos canciones profanas, 1938–1939
• Duo para pato y canario, voice and chamber orchestra, 1931
• “Ranas” (Frogs) and “El tecolote” (The Owl), voice and piano, 1931
• Caminando, 1937
Piano
• Allegro
• Canción (a passage used also in Cuauhnáhuac)
Bibliography:
http://peermusicclassical.com/composer/composerdetail.cfm?detail=revueltas
http://www.wwnorton.com/college/music/enj9/shorter/composers/revueltas.htm
http://www.google.com/search?q=Silvestre+Revueltas&hl=en&safe=off&prmd=ivo&tbs=tl:1&tbo=u&ei=BAXDTK_eFYL78AaMof2ABg&sa=X&oi=timeline_result&ct=title&resnum=19&ved=0CGUQ5wIwEg
http://www.classical-composers.org/comp/revueltas
Antonio de Salazar(1650-1715)
24 Oct 2010 Leave a Comment
Antonio de Salazar(1650-1715) was born in Puebla, Spain. Salazar is considered a Mexican Composer. He eventually moved to Mexico where he worked in the cathedrals where he was the maestro de capilla. Salazar did work with the contrapuntal technique. Salazar composed hymns, villancicos, and texts for the cathedral and feasts. Salazar also oversaw the installation of an organ in Madrid and reorganized and filled the music archive of a Mexico cathedral. Salazar’s works were sent out among the Spanish world. Salazar later took on many students including nuns, maestros, and singers. Salazar stopped teaching when he turned 60 due to his going blind and poor health. Salazar was then deputized as director of music at the cathedral. Salazar was buried at the Mexico City Cathedral in respect of his work.
Cathedral in Puebla Cathedral where Antonio de Salazar was appointed maestro de capilla.
Discography:
1. Ritual formulario: Hanacpachap
2. Deus in adiutorium
3. Dixit Dominus
4. Salga el Torillo
5. Beatus vir
6. Viva Ignacio, viva!
7. Laudate Dominum
8. Aquí, Valentónes de nombre!
9. Beloved Mother of God
10. Ave maris stella
11. Magnificat
12. Cui luna, sol et omnia
13. Albricias mortales que viene la aurora
14. Sancta Mariae
15. Ay andar
16. Dulce Jesús mío “Y yaî Jesuchristo apoquîrui”
Bibliography:
http://www.sfbach.org/antonio-de-salazar
http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/24361?q=Antonio+de+Salazar&search=quick&pos=1&_start=1#firsthit
Manuel de Zumaya (1678-1755)
23 Oct 2010 Leave a Comment
18th century composer born in Mexico to parents of native american and european descent. He served as composer and organist in the Mexico City Cathedral and his works were in the styles of renaissance and baroque. He studied the organ under José de Ydiáquez, and composition with Antonio de Salazar, the maestro de capilla at that time. Zumaya later competed for the post against Francisco de Atienza who was assistant to Salazar and served as interim maestro de capilla while Salazar was ill. Zumaya’s work Sol-fa de Pedro won him the position and he was appointed to maestro de capilla of Mexico City’s cathedral in 1710, after Salazar retired. Although, he was originally appointed amidst protests, he eventually earned great respect and admiration with his exceptional music. He immediately went to work composing a vast amount of choral collection and choirbooks and expanding the orchestra. He was commissioned in 1711 by Viceroy, Don Fernando de Alencastre Noroña y Silva, Duke of Linares, to translate Italian libretti and write new music for them. Along with the music of this commission, he composed the first Mexican opera, “La Parténope” which still survives today in the Biblioteca Nacional de Mexico in Mexico City, although the music from that particular commission has been lost. He eventually left Mexico City Cathedral against urges to stay by the Cathedral members and went to Oaxaca with Dean Tomás Montaño, who had recently been appointed archbishop there. He was eventually appointed maestro de capilla and like Mexico City Cathedral, he expanded the orchestra at Oaxaca.
Zumaya was one of the most remarkable New World composers of the 18th century, equally at home in pseudo-Renaissance vocal polyphony and in the concerted style of the Baroque. In his Latin motets or himnos he most often wrote free imitative counterpoint, but his Alma Redemptoris mater paraphrases the plainchant and his Lamentations for the Holy Saturday quote the Spanish Lamentation tone. His harmonic daring, especially with regard to augmented and diminished chords and secondary dominants, sets him apart from other Mexican polyphonists. His Baroque settings are characterized by vigorous motivic activity, instrumental figuration and brisk harmonic motion. In the villancico Celebren, publiquen seemingly insignificant motifs appear in the accompaniment, and are then combined in increasingly complex ways to create a sense of forward motion. Similar motivic bonds mould together his villancico Al prodigio mayor, the earliest known piece written specifically to honour the Virgin of Guadalupe. (Russel, n.d.)
La Partenope, version by Leonardo Vinci Manuel de Zumaya composed the first Mexican opera, “La Parténope” which still survives today in the Biblioteca Nacional de Mexico in Mexico City
Discography:
Stage
Incidental music: Rodrigo (play, M. de Zumaya), Mexico City, 25 Aug 1707 (doubtful; music lost)
Il Partenope (op, 3, S. Stampiglia), viceregal palace, Mexico City, 1 May 1711 (in Sp.; music lost)
Sacred Latin
Edition:
Two Mexico City Choirbooks of 1717: an Anthology of Sacred Polyphony from the Cathedral of Mexico, ed. S. Barwick (Carbondale and Edwardsville, IL, 1982) [B]
Misa, 5vv, obs, str; Misa de tercer tono, 8vv, insts; Misa Te Joseph, 6vv: all Oaxaca, Cathedral, ed. in Tesoro de la música polifónica en México, viii (Mexico City, 1996)
Bonitatem fecisti cum servo tuo Dominum, SATB, SATB, 2 vn, bc, collab. J.M. de Los Reyes
Clausulas de la Passion, 4vv, Oaxaca, Cathedral
De lamentatione Jeremiae, Sabbato Sancto, 4vv, MEX-Mc, ed. in B
Mag primi toni, 4vv; Mag secundi toni, 4vv; Mag tertii toni, 4vv: all Mexico City, Tepotzotlán Monastery, ed. in B
Motets etc., with insts: Laetatus sum (i), 11vv; Laetatus sum (ii), 11 vv; Lauda Jerusalem, 8vv; Lauda Jerusalem Dominum, 6vv; Lauda Sion Salvatore, 7vv; Victimae paschali laudes (inc.): all Oaxaca, Cathedral
Motets etc., unacc.: Adjuva nos Deus, 5vv, Mc, ed. in B; Aeterna Christi munera, 4vv, Mc; Alma Redemptoris mater, 4vv, MC; Ave regina caelorum (inc.), 4vv, Mc; Christe sanctorum decus, 4vv, Mc; Christum regem, 4vv, Mc, ed. in B; Christus factus est, 4vv, Mc, ed. in B; Confitebor tibi Domine, 4vv, Mexico City, Tepotzotlán Monastery, ed. in B; Credidi propter quod locutus sum, 4vv, Tepotzotlán, ed. in B; Dixit Dominus, 8vv, Oaxaca, Cathedral; Lauda Jerusalem, 8vv, Oaxaca, Cathedral; Lauda Sion Salvatore, 7vv, Oaxaca, Cathedral; Laudate Dominum, 8vv, Oaxaca, Cathedral; Laudemus Deum nostrum, 4vv, Mc; Maximus Redemptor, 4vv, Mc; Miserere mei, 4vv, Mc, 1717, ed. in B: Miserere mei, 4vv, Mc, ed. in B; Nobis summa Tiras, 4vv: 2p. of Miris modis repente liber by A. de Salazar, Mc; Sacris solemnis, 4vv, Mc, ed. in B; Sis Jesu nostrum gaudium, 4vv (doubtful): 2p. of Jesu dulcis memoria by Salazar, Mc; Sit Trinitati sempiterna gloria, a4: 2p. of Egregie Doctor Paule by Salazar, Mc; Victimae paschali laudes, 7vv, Oaxaca, Cathedral
Villancicos
all with instruments; MSS in Oaxaca Cathedral unless otherwise stated
Edition:
Manuel de Sumaya: Cantadas y villancicos, ed. A. Tello, Tesoro de la música polifónica en México, vii (Mexico City, 1994) [T]
Acudíd, acudíd, for S Ildefonso, 1719, 6vv, MEX-Mc; A la asunción de Nuestra Señora, for the Assumption, Mc; Al alva, que brilla, con puros reflexos, for the Virgin of Guadalupe, 4vv; A la puríssima Concepción, for the Conception, Mc; A las dos serafines, Mc; Albricias mortales que viene la aurora, 7vv, ed. in T; Al desnudo infante que hoy nace, for Christmas, 2vv, GCA-Gc; Alégrense los astros, MEX-Mc (inc.); Alegres luces del dia, for Christmas, 1v, ed. in T; Al empeño, a la lucha, for St Peter, 4vv, ed. in T; Al prodigio mayor, for the Virgin of Guadalupe, 4vv, GCA-Gc; Al sol en mejor oriente, for Christmas, 2vv; Al solio que por eguido, 4vv, 1717, for the Assumtion, MEX-Mc; Al ver que las ondas, for St Peter, 6vv, ed. in T; Angélicas milicias, for the Assumption, 8vv, ed. in T; Aplauda la tierra, for St Peter, 12vv, 1718, Mc; Aprended Rossa, for the Conception, Mc; Aunque al sueño, for St Peter, 3vv, ed. in T; Ay como gime en el viento, for Christmas, 2vv, 1717, Mc
Celebren, publiquen, 7vv, ed. in Tesoro de la música polifónica en México, iii (Mexico City, 1983), ed. in T; Cielo animada en Guadalupe, for the Apparition of Guadalupe, 2vv, Mc; Como aunque culpa, for Christmas, 1v, ed. in T; Como glorias el fuego de Pedro canta, for St Peter, 1v, ed. in T; Corred, corred zagales, for Christmas, 4vv, ed. in T; Corrientes que el mar, 4vv, ed. in T; Dejó Pedro la primera, for St Peter, 1720, Mc; De la celeste esfera que portento, for Christmas, 1v; De las flores y las estrellas, for the Assumption, 11vv, 1729, Mc; Del vago eminente, for St Peter, 6vv, ed. in T; Diga que no ay dichas calladas, 3vv, Mc; Dios sembrando flores, for S María Rosa de Lima, 2vv, 1729, Mc; El arca de Dios vivi, 1v (inc.); Él de Pedro solamente, for St Peter, 1v, ed. in T; En María la gracia, for the Conception, 6vv, 1728, Mc; Fuego, fuego que se abrassa, for St Peter Nolasco, 8vv, 1719, Mc; Hoy ha nacido Dios, 1v (inc.); Hoy sube arrebatada, 1v, private collection, Mexico City; Jesús Dios humanado, 1v (inc.)
La bella incorrupta, for the Apparition of Guadalupe, 8vv, 1725, Mc; Los niños de aquesta iglesia, 7vv; Lucientes antorchas, for S Ildefonso, 8vv, 1726, Mc; Moradores del orbe, for the Conception, 8vv, 1719, Mc; Oíd moradores del orbe escuchad, 5vv, Mc; Ola, ha del mar pescadores, 3vv, Mc; O muro más que humano, for St Peter, 1v, ed. in T; O Pedro quien pudiera llegar a penetrar, for St Peter, 1v, GCA-Gc; O que amargos dolores, 3vv, Morelia, Conservatorio de la Rosas; O que milagro, for S Ildefonso, 6vv, 1718, Mc; Oy sube arrebatada, for the Assumption, 6vv, 1719, Mc; Pares sean echo, for Christmas, 1710, Mc; Pedro es el maestro que se sabe, for St Peter, 4vv, ed. in T; Pescador soberano, for St Peter, 1v, ed. in T; Pregón oíd moradores, for St Peter, 1710, Mc; Prevenga amor (doubtful), GCA-Gc; Primer villancico de Navidad, MEX-Mc; Pues que nace (inc.), for Our Lady, 7vv
Que brava idea, for Christmas, 8vv; Que dice así pajarillos sonoros, 4vv, GCA-Gc; Que os llama el sol potencias, for the Holy Sacrament, 1711, MEX-Mc; Que por tento escuchen, 2vv, Mc; Que se anega de Pedro la nave, for St Peter, 11vv, 1726, Mc; ¿Quién es aquella?, for the Apparition of Guadalupe, 6vv, 1725, Mc; ¿Quién es esta?, for the Assumption, 6vv, 1724; Resuenen los clarines, 8vv, 1738, GCA-Gc; Sabio y amante fue Pedro, for St Peter, 4vv, 1719, MEX-Mc, S Eligio (inc.), Mc; Sapientísmo le adore (inc.), 1v; Sedeientos que en este mundo, Mc; Si duerme el amor, for Christmas, 2vv, GCA-Gc; Silencio, silencio, MEX-Mc; Si son los elementos, for St Joseph, Mc; Si ya a aquella nave, for St Peter, 1v, ed. in T; Sol-fa de Pedro es el llanto, 4vv, GCA-Gc; Suspéndanse las vozes, for the Conception, 2vv, Gc; Toque, toque repique, for the Holy Eucharist, 8vv, Gc; Un ciego vx [?viexo], for St Peter, 6vv, 1716, MEX-Mc; Villancico a duo, for the Apparition of Guadalupe, 2vv, 1721, Mc; Ya la naturaleza redimida, for Christmas, 1v, ed. in T; Y pues que ya las perlas, 1v; Ya se herizael copete, for the Apparition of Guadalupe, 6vv, 1728, Mc
Biblioteca Nacional de Mexico
Bibliography:
Russell, C.H., (n.d.) Manuel de Zumaya. Grove Music Online. Oxford Music Online. Retrieved October 22, 2010, from http://www.oxfordmusiconline.com/subscriber/article/grove/music/31064
Wikipedia. (2009). Manuel de Zumaya. Wilipedia. Retrieved October 22, 2010, from http://en.wikipedia.org/wiki/Manuel_de_Sumaya
Juan Gutiérrez de Padilla ( 1590-1664)
23 Oct 2010 Leave a Comment
Jerez de la Frontera Juan Gutiérrez de Padilla was appointed maestro de capilla at the collegiate church in Jerez de la Frontera in 1612
17th century Mexican born composer of Spanish descent. He studied under Francisco Vásquez, maestro de capilla at Málaga cathedral. He was appointed maestro de capilla at the collegiate church in Jerez de la Frontera in 1612. In 1613, he competed unsuccessfully for maestro de capilla at Málaga. Padilla left Jerez after a financial dispute for not fulfilling his teaching obligation and was appointed maestro de capilla at Cádiz Cathedral in 1616, where he was listed as an ordained priest. His recommendations for new music and having instrumentalists at evening services earned him praise.
In 1622, Padilla was appointed cantor and assistant maestro at Puebla Cathedral, one of the finest Cathedrals in the Americas. Padilla composed chanzonetas for the services and taught polyphony and in 1629, was appointed maestro de capilla. Additionally, while he was in Puebla, Padilla also ran an instrument workshop and taught in both the Colegio de San Pedro and the Colegio de San Juan. In 1655 Padilla was placed tenth on a list of Cathedral dignitaries for his contributions to religious ceremonies.
Cadiz Cathedral Padilla left Jerez after a financial dispute for not fulfilling his teaching obligation and was appointed maestro de capilla at Cádiz Cathedral in 1616, where he was listed as an ordained priest.
His sacred Latin music as included in Puebla choirbook no.15 contains some of Padilla’s most successful masses, motets, psalms, Lamentations, responsories, hymns, a litany and a St Matthew Passion. He created a number of his works for two choirs where he produced 1 mass in 2 completely different styles; one being a dramatic and homophonic style and the second being a contrapuntal fashion. Padilla also wrote numerous vernacular villancicos; many written for Christmas or the feast of the Immaculate Conception.
Pueble Cathedral In 1622, Padilla was appointed cantor and assistant maestro at Puebla Cathedral, one of the finest Cathedrals in the Americas.
Discography:
Sacred Latin
in MEX-Pc unless otherwise stated
Missa ‘Ave regina’, 8vv, ed. in Ray
Missa ‘Ego flos campi’, 8vv, ed. in Mapa mundi (London, 1992)
Missa ‘Joseph fili David’, 8vv, ed. in Ray
Missa sine nomine, 8vv, ed. in Ray
Missa ferialis, 4vv
Adjuva nos, 5vv; Arbor decora, 4vv, ed. in Reitz; Ave regina, 8vv, ed. in Ray; Ave rex noster, 4vv, ed. in Reitz; Christus factus est, 4vv (2 settings), ed. in Reitz; Circumdederunt me dolores, 6vv; Deus in adiutorium meum, 8vv; Die nobis Maria quid vidistis, 8vv; Dies irae, 8vv; Dixit Dominus, 8vv; Dixit Dominus, 4vv (2 settings); Dixit Dominus, 5vv; Domine ad adjuvandum, 8vv; Domine Dominus noster, 8vv, ed. in Ray; Dominus Jesus postquam cenabit, 4vv, ed. in Reitz; Exultate justi in Domino, 8vv, ed. in Ray; Felix namque es sacra virgo, 8vv; Filie Jerusalem, 4vv, ed. in Reitz; Joseph fili David, 8vv, ed. in Ray; Mirabilia testimonia, 8vv, also in Colección Jesús Sánchez Garza, Mexico City, ed. in Ray; Miserere mei, 8vv; O cruz ave spes unica, 4vv, ed. in Reitz; O Domine Jesu Christe, 2vv, ?insts, ed. in Reitz; O Redemptor sume carmen, 4vv, ed. in Reitz; O vos omnes, 4vv, ed. in Reitz
Pater peccavi, 8vv; Postquam surrexit Dominus, 4vv, ed. in Reitz; Quo vulneratus, 4vv, ed. in Reitz; Responde mihi, 4vv; Salve regina, 8vv, ed. in Ray; Sancta et immaculata, 8vv; Sicut cervus, 4vv, ed. in Reitz; Stabat mater, 4vv (2 settings), ed. in Reitz; Tantum ergo, 4vv, ed. in Reitz; Transfigi dulcissime Domine, 4vv; Tristis est anima mea, 4vv, ed. in Reitz; Velum templi scissum, 4vv, ed. in Reitz; Veni pater pauperum, 8vv; Veni Sancte Spiritus, 4vv; Versa est in luctum cithara, 5vv: Vexilla regis, 5vv; Victimae paschali, 8vv; Vida turbam magnam, 6vv; several ed. in Mapa mundi (London, 1992)
Passio secundum Mattaeum, 4vv; ed. in Barwick; ed. S. Barwick and H. Ross, Motets from Mexican Archives (New York, 1952–68)
2 Lamentations, 4, 6vv; 1 ed. in Reitz
3 litanies, 10vv
6 psalm tones, 4vv
Villancicos
in Collección Jesús Sánchez Garza, Mexico City, unless otherwise stated
More than 45 surviving villancicos, 2–6vv, in 9 Christmas cycles, 1642, 1651–9, and 1 Corpus Christi cycle, 1628, MEX-Pc; 5 ed. in Stevenson (1974); 4 ed. M. Alcázar, J. Estrada and E.T. Stanford, La música en México: antologia, i: Período virreinal (Mexico City, 1987)
Others: Administre sus rayos, 3vv; Al triunfo de aquella reina, 4vv; Con tal de gala pastores, 4vv; De buestras glorias colijo Joseph, 4vv; Dormidillos ojuelos, 2, 5vv; Entre aquellas crudas sombras, 2, 4vv, Pc; En un portal malcubierto, 4vv, GCA-Gc; La corte del çielo, 3, 6vv; Miraba el sol el aguila bella, 2, 4vv, Pc; Miran con los difraçes, Pc; Nada lejos de razon, 3vv; Ne son sino quatro mortales, 3, 5vv; Que tiene esta noche, 4vv, GCA-Gc; Zagalejos amigos decid, 5vv
Bibliography:
Koegel, J. (2010). Juan Gutiérrez de Padilla. Grove Music Online. Oxford Music Online. Retrieved October 23, 2010, from http://www.oxfordmusiconline.com/subscriber/article/grove/music/20676
Maria Grever (1894-1951)
21 Oct 2010 Leave a Comment
Maria Grever (16Aug1894-15Dec1951) was born in León, Guanajuato, Mexico. Her maiden name is María Joaquina de la Portilla Torres. Maria was a songwriter, composer, singer and pianist. She wrote her first song at the age of 4. Maria was the first Mexican female composer to become successful and composed 860+ songs. Maria studied and worked aboard until after becoming paralyzed, she returned to Mexico. Her autobiography was the basic for the movie, “Cuando me vaya”. Maria grew up in a wealthy family and eventually married a businessman named Leon Agosto. After her marriage, Maria moved to New York City. Many of Maria’s songs were translated into English.
Discography:
Bibliography:
http://www.imdb.com/name/nm0340472/bio
http://www.jrank.org/cultures/pages/3931/Mar%C3%ADa-Grever.html
http://en.wikipedia.org/wiki/Mar%C3%ADa_Grever
http://www.encyclopedia.com/doc/1G2-3435000082.html
Laura Elise Schwendinger (b.1962)
21 Oct 2010 Leave a Comment
Laura Elise Schwendinger(26Jan1962 -) was born in Mexico City. She received a Ph.D. from the University of California Berkeley and has since received numerous awards for her works. Throughout the years, Schwendinger has instructed at many schools where she influenced the lives of many current artists and composers. Schwendinger is currently an Associate Professor of Composition and Artistic Director of the Contemporary Ensemble at the University of Wisconsin-Madison.
Discography and Works:
Waking Dream (2009) for flute and orchestra, premiered by Christina Jennings and the UW Chamber Orchestra (11/14/2009)
Van Gogh Nocturnes (2009) for piano, premiered by Christopher Taylor (3/12/2010)
Garden of Earthly Delights (2008) for flute, oboe, guitar, mandolin, violin and cello. For William Anderson and Cygus
Three’s a Crowd (2007), for Trumpet, Trombone and Tuba for theB3+ ensemble, with bass trombonist Dave Taylor,trumpeter Franz Hackl and the John Clark on horn
Chiaroscuro Azzurro (2007), a “Pocket Concerto” commission from Miller Theater, for violin and chamber orchestra.Jennifer Koh, Violin
Premiere March 2008, Miller Theater, New York City ( March 27, 2008)
Aerialist for solo flute (2006) Written for Christina Jennings. Premiere November 30, 2006 at Symphony Center NYC
Esprimere Concerto for cello and orchestra (2005) Written for Matt Haimovitz and the UW Symphony Orchestra. Premiere March 28, 2007
Basso Non-Profundo for Bass solo (2006) Written for David Murray and the Chicago Composer’s Consortium. Premiere Oct. 2006
Elements for Percussion Ensemble (2006) Written for and premiered by Anthony Di Sanza and hisWestern Percussion Ensemble May 2006
High Wire Act for flute, strings and piano (2005) Written for and commissioned by Christina Jennings and Bright Music. Premiere November 15, 2005
Lady Lazarus(2005) a setting of the Sylvia Plath poem for mezzo-soprano, flute, clarinet, violin, cello, piano and percussion. Commissioned by Nicole Paiement and the Ensemble Parallele for the opening concert of the Blueprint series at the San Francisco Conservatory of Music, October 14
New 2 little whos(2005) for mandolin and guitar. Written for Duo Ahlert and Schwab. Premiered on May 5, Chicago Composer’s Consortium series
2 little whos (2004) for violin and guitar. Written for Duo 42
Betes de la Mer (2005) for Orchestra (9:00), written for the University of Wisconsin-Madison Chamber Orchestra. Premiered April 8, 2005
Lontano for oboe, cello and percussion. Commissioned and premiered by CUBE, March 13, 2004
Nonet (2004) For Chicago Chamber Musicians. Fromm Foundation Commission. (15:00) In three movements. For flute, oboe, clarinet, violin, viola, cello, french horn, piano and percussion
Rapture (2003) for cello and piano. (8:30) Adapted for Jens Peter Maintz, principal cellist of the Deutsches Symphonie-Orchester Berlin. Premiere 5/24/03
String Quartet in three movements (2001) A Harvard Musical Association. Commission, The Arditti String Quartet, 1/24/03. Massachusetts Institute of Technology, Cambridge, MA. (17:36)
Magic Carpet Music (2002)for piano (13:00)adapted for Jenny Lin. Premiere was on April 12, 2003 at Galapagos Art Space, NYC
Celestial City (2002) For Spectrum Concerts of Berlin. Koussevitzky Foundation Commission. Premiere was 1/22/03: Berlin Philharmonic recital Hall. (18:01) for clarinet, violin, viola, cello and piano
Bellagio Suite (2000) for string orchestra . Written for The Cleveland Chamber Symphony. Premiere was 2/1/01. (12:00)
Approaching Storm (2000) for Two pianos, two percussion and tape (10:00) Written for Fear No Music of Portland. Premiere was on 3/11/01.
-from Chansons Innocente-
In Just Spring- (1988) for soprano and piano. Taken on tour (1997-2002) by Dawn Upshaw and Gilbert Kalish, venues include Carnegie Hall, Wigmore Hall- London, Veteran’s Wadsworth- Los Angeles, Theatre du Chatelet- Paris, Herbst Theater- San Francisco and The Tanglewod Music Festival. Also available on “Voices of Our Time” a recital video of Dawn Upshaw at The Theatre du Chatelet in Paris.
Three song set, from Hildegard Publishing includes In Just Spring- , Hist whist, little ghost things (2000) and Tumbling-hair for voice and piano
Magic Carpet Music (1999) for flute, clarinet (bass), violin and Cello. (13:00) Written for The Theater Chamber Players. Premiere was on December 4, 1999 at the John F. Kennedy Center for the Performing Arts.
Rapture (1999) for flute and piano. (7:00) Written for Cathy Comrie
Chiaro di Luna (1998) for string ensemble. (4:00) Written and premiered by The Franz Liszt Chamber Orchestra of Hungary.*
Ce la Luna Questa Sera? (1998) for violin, cello, harp and percussion (vib., glock.) (6:45) Written and premiered by the Ernest Bloch Festival, Newport Oregon.
Songs of Heaven and Earth (1998)for mezzo-soprano, flute (picc.,alto), clarinet (bass), violin, cello, piano, percussion, and harp.(28:00) Written and premiered by The Theater Chamber Players, John F. Kennedy Center for the Performing Arts.
Aorewa for orchestra (7:00) Read by The Berkeley Symphony, Under Construction.
Pointillisms (1997), for solo piano includes Point of Departure, Pedal-Point, Point of Balance, Boiling Point and Exclamation Point, a work for Leslie Amper (12:00) available alone Point of Balance (1991) for Piano (2:45). * Performances include Vancouver New Music and the University of California at Santa Cruz New Music Festival.
Cascade Range (1996), for cello and piano, a work for cellist Scott Kluksdahl. Premiered at SCI National Conference, 1997.
Asherah (1995), for solo alto saxophone, written for Joseph Wytko (8:00).
These Verses Hold… (1995) Setting of Petrarch for soprano, clarinet, cello, piano and percussion for performance at the Contemporary Music Program, Norfolk Chamber Music Festival (9:10).
La Charmeuse de Serpents (1995), for flute, oboe and piano, for Row Twelve performance ensemble of Massachusetts (8:20).
Fable , (1994), for flute (alto, piccolo), clarinet (bass), violin, cello, piano and percussion (15:00). Performances include Aspen Music Festival, San Francisco Conservatory of Music New Music Ensemble, June in Buffalo and Bowdoin Festival.
Seven Choral Settings (1994), commissioned by the Boston University Marsh Chapel Choir, Julian Wachner, Director (revised in 1994) current title Six Choral Settings (15:00).
Chamber Concerto (1993) for piano and mixed ensemble of 16 players (16:10). First prize winner, 1995 ALEA III International Composition Competition. Available on Capstone Records, SCI 10. Reviewed by The American Record Guide as “melodic and atmospheric”.
String Quartet (1992) (12:00) written for performance at the 1992 Ernest Bloch Festival in Newport Oregon . Honorable mention Washington Square competition.
Sonata for solo violin (1992) in three movements (13:00). Written for and premiered by Victor Schultz at the Ives Center for American Music.
Rumor (1992) for flute and cello (7:45). Performances include: IAWM Annual concert at the National Museum of Women and the Arts, Washington D.C., co-winner of score search, and the New York Camerata.
Lament (1991) for string trio (6:45). Performances include:The Theater Chamber Players, John F. Kennedy Center for the Performing Arts, June in Buffalo.
the sky a silver dissonance (1990), a setting of the poem by E.E. Cummings (3:50).
Three operatic scenes from The Overcoat (1989), a chamber opera based on Nicolai Gogol’s work.
Night Dances (1987) for orchestra (8:50). Read by the Women’s Philharmonic in 1993, for the New Music Reading Session.
Piano Trio II (1987) for piano, violin and cello.Winner of University of California, Di Lorenzo prize in music.
Duo for flute and piano (1986).
Memorial to D.C. (1986) written for the University of California Symphony Orchestra.
Bibliography:
http://www.lauraschwendinger.com/
http://www.classical-composers.org/comp/schwendinger
http://en.wikipedia.org/wiki/Laura_Schwendinger
Armando Manzanero (b. 1935)
21 Oct 2010 Leave a Comment
Armando Manzanero was born in Mérida, Yucatan on Dec 7, 1935. He was known for his romantic compositions. Armando begun learning music at 8 years old. He composed his first piece, Nunca en el Mundo, at the age of fifteen. Armando begun his career as a pianist at sixteen years old. Armando release his first album, Mi Primera Grabación, in 1959. Armando composed around 400 songs. Armando is currently working as the Vice President of the Society of Authors and Composers of Mexico (SACM).
Discography:
http://www.artistdirect.com/artist/bio/armando-manzanero/463016
http://www.last.fm/music/Armando+Manzanero
http://www.ascap.com/press/2010/0201_Latin-Awards.aspx
http://www.sobrino.net/Dzidzantun/compositores_yucatecos_Armando_Manzanero.htm
