Crossroads of Traditions Concert
| Salsa y tres soneos | Raymond Torres Santos (born 1958, Puerto Rico) |
| Atavismos-Regresión I | Catalina Peralta (born 1963, Colombia) |
| Enotirt | Williams Panchi (born 1964, Ecuador) |
| Threnody | David Dzubay (born 1964, USA) |
Presented by The Latin American Music Center with the support of the School of Music and the Office of Creative Arts Exchange Program of the United States Information Agency. | |
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| Ford Hall Saturday Afternoon June 29 Four O'clock | |
Program Notes
Salsa y Tres Soneos (1994)
Raymond Torres Santos
My music, which is mostly symphonic, is characterized by the incorporation of those musical elements that have defined my personality as a musician and as a human being. Since I was 15 years old, my professional experience, as a popular music arranger, jazz and salsa pianist, conductor, and folk music researcher have exposed me to a diversity of musical traditions that comprise: jazz (improvisation), Spanish and Afro-Caribbean music, popular music in general, the academic influences of European and the motion picture music traditions. In Salsa y Tres Soneos I juxtapose elements of urban salsa with jazz and improvisation. (Note by the composer)
Atavismos-Regresión I (1993-94)
Catalina Peralta
This piece was dedicated to "The Vienna Saxophone Quartet;" the special and helpful contact with this group introduced to me the world of Jean Marie Londeix's contemporary techniques of the saxophones-subtones in pppp, multiphonics, diferent types of slaps, special attacks, very soft and nasal sonorities, aeolian sounds; but the most important aspect was the structure itself as the starting point of the entire uninterrupted movement: two series of four tones-with a specific interval relationship-that permanently grow through proportional time and join with melodic articulations, a kind of reproduction's technique. The title refers to Freud's psychological theories of regresions in the dreams to the ancestral past and mental childhood. (Note by the composer)
Enotirt (1994)
Williams Panchi
Enotirt for flute in C is based on the interval of the tritone; in fact, the title of the work is the word tritone written backwards. The haunting quality of the tritone pervades the entire work. Written in eight segments, the performer is free to chose the order of performance of the first seven-by chance if desired. The writing for solo flute employs several techniques such as fluttertzung, very hard tongue sounds, and whistles; in addition, the work makes also use of quarter tones and harmonics.
Dos Maneras de Ser (1971)
Raúl Iglesias
My passion is to work with Afro-Cuban melodies and rhythms-or from the imaginary folklore-blending and amalgamating them in twelve-tone series that I manipulate in most diverse manners but always avoiding the tonal "edge." (Note by the composer)
Threnody (1987)
David Dzubay
Threnody is a parody, in the respectful sense, of a composition based on an earlier composition, of Mille Regretz, a hauntingly beautiful chanson by Josquin des Prez (1440-1521):
A thousand regrets at deserting you
and leaving behind your loving face,
I feel so much sadness and such painful distress,
it seems to me my days will soon dwindle away.
Josquin's chanson provides the framework for this short lament. Around, in between, above, and below this frame, I have created my own musical statement using interjection, layering, contrast, repetition, and imagination. Though composed in the summer of 1987, in May of 1993 I made a few slight revisions to the work and also wrote a version for string orchestra. A recording of Threnody by the Alexander String Quartet was released on CD in December, 1994 (Innova 111). (Note by the composer)
Notes prepared by Mario Ortiz
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