August 31, 2017
Our composers and artists are heading into a busy semester.
On August 4, Federico Núñez obtained a Magister degree in the Interpretation of 20th Century Latin American Music at the National University of Cuyo in Mendoza, Argentina. He wrote a thesis on the solo guitar music of Fernando Maglia and the relationship between its performance technique and musical language. His defense consisted of a formal recital as well as oral questioning by the members of his thesis committee.
Federico also informs us that on September 1, two of his recent works, Dblès (2016) and Convergencias (2017), are slated to be premiered at the National University of the Arts in Buenos Aires.
Fernando Oliveira was selected on August 11 as one of three participants of a master class with the South Korean composer Unsuk Chin, who is currently in São Paolo as a visiting composer with that city’s symphony orchestra. During the session they talked generally about the creative process, and specifically, Fernando had the opportunity to show Ms. Chin his latest piece, Momento de Fraqueza, which was commissioned by the group Violet (Elizabeth Crawford, clarinet; and Katrin Meidell, viola), both of whom are on the faculty at Ball State University.
On August 18, the Arregui Guitar Trio, which is a student group at the University of the Arts in Guayaquil, Ecuador, premiered a trio for three guitars, Danzón para momentos tristes, by Luis Pérez Valero. Luis also reports that several days later, his article, “Anthropoceno y desterritorialización de la voz: Aproximación a la música a través de Gilles Deleuze,” was published in the online journal, Venezuela Sinfónica. (In this article he cites a 2008 work by Cayambis composer Andrés Levell).
Last week, on August 23, Juan López’s work, Siete Días en Arcadia, for oboe doubling English horn and guitar, received a municipal prize for composition in Caracas, Venezuela.
In Brazil, members of an experimental orchestra performed Fanfarra, a work that was composed for seven brass instruments in 1999, by Alexandre Travassos. (You’ll be reading more about Alexandre in next month’s issue).
Luis Ernesto Gómez brought to our attention a very interesting interview of Carmen Borregales, who last month performed Gómez’s work for unaccompanied clarinet, Cantos Veloces, at the ClarinetFest in Orlando, Florida. Luis Ernesto also reports that he just finished Cuatro piezas en Código Morse for clarinet and piano that are dedicated to the Uruguayan clarinetist, Federico Palacios.
On September 4, Sadiel Cuentas’s new string quartet is scheduled to be premiered by the Tipataki Quartet at the Peruvian University of Applied Sciences in Lima, Peru. Also included on the program is Grotesque Quartet by Antonio Gervasoni.
With the assistance of the Taller Ciclo collective, on September 7 Nicolás Kliwadenko will be presenting a new version of İlk değil ve son değil, for flute, tenor sax, electric guitars and electronic media, as part of the “II Festival Perfectible,” in Santiago, Chile. Click here for more information.
The Khemia Ensemble will be performing in the annual music festival, Strange Beautiful Music, in Detroit, Michigan, on September 22. This event, organized by New Music Detroit, brings together groups that are dedicated to the performance of experimental contemporary chamber music, folk, electronic and noise improvisation.
Finally, it may seem that November is still far away, but soon, British pianist Martin Jones will be recording two works by Kent Holliday, his Incantations from the Popul Vuh and his third piano sonata, in Covington Hall in Radford, Virginia.
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