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Cat. No. CHAN 9804 Price: £0 No. of discs: 1
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CHAN 9804 - Latin Impressions
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Available From: 16 March 2000
Turina received his musical training in both his native Seville, Madrid – where he met De Falla with whom he went to Paris where they both studied. It was Albeníz who urged Turina to incorporate Spanish folk idioms into his works, advice that Turina took seriously. The Serenata, Op. 87 was written during his mature period when he was professor of composition at the Madrid Conservatory.

Villa-Lobos was initially influenced by the late Romantic and Impressionist schools, and by the music of Rimsky-Korsakov and Stravinsky, and in Paris where he studied, he son the admiration of Messiaen. Incorporated into his works are Brazilian folk, popular, indigenous and children’s music. The Fantasia for Saxophone and Chanber Orchestra (1948) was written in the last phase of his productive career.

Guanieri belongs to the generation that succeeded Villa-Lobos. His earliest works established him as one of Brazil’s greatest musical hopes. Like those of Villa-Lobos, his work in all genres bear the neo-classical stamp, while being infused with the rhythms and melodic inflections of the Brazilian folk idiom.

It was Astor Piazolla who instigated the tango revival. He was torn between his love for the tango and his love for classical music. It was Nadia Boulanger (with whomnhe nstudied) who, on hearing him play the bandoneon during an informal gathering, convinced him to return to the tango. On his return to Buenos Aires in 1956 he founded the orchestra which revolutionised the tango through a fusion with other musical styles like jazz or, as here, European classical music.

Goas’s Impressión nocturna (1937) – in effect a serenade for strings – is a mature work belonging to the spirit of the great Romantic and Expressionist serenades. The work was written during the civil war and exudes a sense of profound sadness.

Until the end of the 1950s, Braga Santos largely subscribed to the Neo-classical aesthetic of English composers such as Ralph Vaughan Williams and William Walton, who were at that time widely acclaimed in Portugal. From the 1960s he went further in exploiting chromaticism and in exploiting the limits of tonality and atonality. The Concerto in D major for Strings is from his earlier period.
Turina received his musical training in both his native Seville, Madrid – where he met De Falla with whom he went to Paris where they both studied. It was Albeníz who urged Turina to incorporate Spanish folk idioms into his works, advice that Turina took seriously. The Serenata, Op. 87 was written during his mature period when he was professor of composition at the Madrid Conservatory.

Villa-Lobos was initially influenced by the late Romantic and Impressionist schools, and by the music of Rimsky-Korsakov and Stravinsky, and in Paris where he studied, he son the admiration of Messiaen. Incorporated into his works are Brazilian folk, popular, indigenous and children’s music. The Fantasia for Saxophone and Chanber Orchestra (1948) was written in the last phase of his productive career.

Guanieri belongs to the generation that succeeded Villa-Lobos. His earliest works established him as one of Brazil’s greatest musical hopes. Like those of Villa-Lobos, his work in all genres bear the neo-classical stamp, while being infused with the rhythms and melodic inflections of the Brazilian folk idiom.

It was Astor Piazolla who instigated the tango revival. He was torn between his love for the tango and his love for classical music. It was Nadia Boulanger (with whomnhe nstudied) who, on hearing him play the bandoneon during an informal gathering, convinced him to return to the tango. On his return to Buenos Aires in 1956 he founded the orchestra which revolutionised the tango through a fusion with other musical styles like jazz or, as here, European classical music.

Goas’s Impressión nocturna (1937) – in effect a serenade for strings – is a mature work belonging to the spirit of the great Romantic and Expressionist serenades. The work was written during the civil war and exudes a sense of profound sadness.

Until the end of the 1950s, Braga Santos largely subscribed to the Neo-classical aesthetic of English composers such as Ralph Vaughan Williams and William Walton, who were at that time widely acclaimed in Portugal. From the 1960s he went further in exploiting chromaticism and in exploiting the limits of tonality and atonality. The Concerto in D major for Strings is from his earlier period.
Reviews

‘Turovsky paces convincingly, not missing Handel’s breadth of sonority and moments of expressive grandeur. This now becomes our first choice for this wonderful music.’
The Penguin Complete Guide on CHAN 9004-6 (Handel)

‘…splendidly performed… an absolute knockout. Recommended with enthusiasm.’
Gramophone on CHAN 9434 (Ginastera/Villa-Lobos/Evangelista)

‘Yuli Turovsky and his Montreal group play superbly, with real feeling for the music and obvious pleasure in it.’
American Record Guide on CHAN 9662 (Verdi & Variations)

 

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