ПРЕЗЕНТАЦІЯ ЛАТИНОАМЕРИКАНСЬКОЇ МУЗИКИ ДЛЯ ГІТАРИ УКРАЇНСЬКИМИ ВИКОНАВЦЯМИ

The relevance of the study is determined by the need to study the influence of ethno-artistic (in particular, Latin American) traditions on the development of classical guitar art in the interaction of composing and performing. The general trends in the development of the creativity of Latin American composers for the guitar as an integral part of the Ibero-American music of the XX century are identified in the article. A general genre and style analysis of guitar works by Latin American composers A. Barrios, L. Brauer, E. Villa-Lobos, J. Morel, A. Piazzolla, J. Sagreras and others is presented. The author has analyzed the modern performing practice of representing this direction of guitar music in Ukraine. Examples of sound recordings are presented and a brief analysis of different genres of works by Latin American composers performed by Ukrainian classical guitarists A. Ostapenko, I. Fedorishin, A. Chadai-Fedik, D. Rybalchenko, B. Sidorenko, M. Zemlyansky, D. Buchka, V. Petrenko, V. Dotsenko, B. Belsky, M. Topchy is given. The performing models of creativity of Ukrainian guitarists in concert performing of Latin American works are determined. The article uses historical, cultural, systemic and comparative research methods, which is based on the analysis of the electronic portal "Guitarists and Composers", scientific works of V. Dotsenko, N. Kryazhev, V. Machneva.Актуальність дослідження визначається потребою дослідження впливу етномистецьких (зокрема, латиноамериканських) традицій на розвиток класичного гітарного мистецтва у взаємодії композиторської творчості та виконавства. У статті визначені загальні тенденції розвитку творчості латиноамериканських композиторів для гітари як складової частини ібероамериканської музики ХХ ст. Представлено загальний жанровий та стильовий аналіз гітарних творів латиноамериканських композиторів А. Барріоса, Л. Брауера, Е. Вілла-Лобоса, Х. Мореля, А. П’яццолли, Х. Сагрераса та ін. Автором проаналізована сучасна виконавська практика репрезентації цього напряму гітарної музики в Україні. Представлені приклади звукозаписів та надано короткий аналіз різножанрових творів латиноамериканських композиторів у виконанні українських класичних гітаристів А. Остапенко, І. Федоришина, А. Чадай-Федика, Д. Рибальченка, Б. Сидоренка, М. Землянського, Д. Бучки, В. Петренка, В. Доценка, Б. Бєльського, М. Топчія. Визначені виконавські моделі творчості українських гітаристів у концертному відтворенні латиноамериканських творів. У статті використані історичний, культурологічний, системний та порівняльний методи дослідження, яке ґрунтується на аналізі електронного порталу «Гітаристи та композитори», наукових робіт В Доценка, Н. Кряжевої, У. Мачнєвої

Ricardo Lorenz: A Post-Colonial/Modern Latin(o) American Composer

European art music was brought into the Euro-baptized American continent by the Spaniards and Portuguese as an art discipline that supported the conversion to Catholicism, and, in general, its colonization. Nevertheless, Latin American composers—using agency, creativity and the process of transculturation—appropriated and transformed this music tradition to produce their innovative and hybrid art music works according to their culture and history. The article examines a selection of composer Ricardo Lorenz (Venezuela, 1961) musical works, philosophy, and artistic persona. In order to understand how and why postcolonial/modern theories opened up new paths for Lorenz’ musical works, this article introduces Ricardo Lorenz as composer and cultural agent related to Latin American and Latino communities in the United States with his positions of Interim Director of the Latin American Music Center at Indiana University (1987-1992), Chicago Symphony Orchestra Composer-in-Residence, Armonía Musicians Residency Program (1998-2002) and Latin IS American (2013-?) at Michigan State University’s College of Music. Then it discusses some of the ideas, such as the cultural monopoly of constructing an art music canon; building a racial/cultural division of the “Self” and the “Others,” the global music industry’s imposition of marketing tastes and distribution channels, and the representation of Latin American art music works and composers as exotics, within Lorenz text “Voices in Limbo: Identity, Representation and Realities of Latin American Composers” (1999). This methodology prepares us to engage with a conceptual analysis of two works by Lorenz—Mambozart for piano (1995) and the Pataruco Concerto for maracas and orchestra (1999)—to demonstrate Lorenz’s musical language and aesthetic, which reflects his fluency in cultural diversity and political philosophy in addition to reminding us what the process of transculturation stands for in Western art music composition and sounds

Olin Downes and the Reception of Latin American Composers in the United States [abstract only]

Olin Downes, influential music critic of the New York Times from 1924 until his death in 1955, was an indefatigable supporter of contemporary music and his interest extended to Latin American composers such as Carlos Chávez, Alberto Ginastera, Camargo Guarnieri, and Heitor Villa-Lobos. Downes’s reviews and newspaper pieces in relation to the New York World’s Fair from 1939 were especially instrumental in consolidating the reputation of Villa-Lobos in the United States. Downes thought highly of Chávez not only as a composer but also as a conductor, whom he compared in favorable terms to Arturo Toscanini’s tenure with the New York Philharmonic. Downes established a particularly enthusiastic relationship with Villa-Lobos and his music, about which he wrote more often than that of any other composer from Latin America. The Brazilian composer reciprocated in kind by dedicating to Downes his Symphony No. 8 from 1950. This paper examines Downes’s music criticism in the New York Times, especially his reviews of Latin American music performances, as well as his papers and unpublished correspondence, which mostly survive at the University of Georgia in Athens. Although it is clear that Olin Downes’s support of Latin American music was indefatigable and genuine, this paper reveals that is was not entirely disinterested and that the renowned critic also worked in tandem with the State Department in Washington, D.C., and its Good Neighbor Policy for the arts

Guest artist recital series: Quartetto Acero, September 17, 2009

This is the concert program of the Guest Artist Recital Series: Quartetto Acero performance on Thursday, September 17, 2009 at 7:30 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were "Aria" from Cantata 155 by Johann Sebastian Bach, theme and variations by Anonymous, Una furtiva lagrima by Gaetano Donizetti, "March to the Scaffold" from Symphonie Fantastique by Hector Berlioz, Azure by Bill Douglas, "Love Theme" from Romeo and Juliet by Nino Rota, Dance Hall Suite by George Keating, "Theme" from Schindler's List by John Williams, and Libertango by Astor Piazzola. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Faculty Recital: Aldo Abreu, December 10, 2014

This is the concert program of the Faculty Recital: Aldo Abreu performance on Wenesday, December 10, 2014 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Organ Trio Sonata BWV 525 in G Major by Johann Sebastian Bach, Sweet, for alto recorder by Louis Andriessen, CREUBEN for solo recorder and guitar by Melika Fitzhugh, Trio Sonata in C major for recorder, flute and continuo by Johann Joachim Quantz, Trio for recorder, flute and harpsichord by Hans Martin Linde, Sonata in C Major by Pietro Torri, Serenade No. 2 for alto recorder, harpsichord and cello by Larry Thomas Bell, and Sonata a tre in C Major by Georg Philipp Telemann. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Daniela Schirmer

Student recital program for Daniela Schirmerhttps://digitalcommons.kennesaw.edu/musicprograms/2581/thumbnail.jp

“Compositores Latinoamericanos”: Uma alternativa genuína para subverter o tradicionalismo no campo da música clássica

Este trabalho apresenta a genuína iniciativa da pianista Beatriz Balzi (1936-2001) para enriquecer o repertório pianístico do século XX com escolhas alternativas. Entre 1984 e 2000, a intérprete argentino- brasileira produziu uma série de sete CDs, exemplificando 13 países da América Latina através de 54 gravações por ela realizadas. Ciente do desconhecimento do público acerca desta música, então pouco divulgada pela mídia ocidental, Balzi adota uma postura pedagógica na organização de tais composições em seus CDs, como mostramos neste artigo.This paper presents the genuine initiative of pianist Beatriz Balzi (1936-2001) to improve the quality of the 20th century piano repertoire through alternative choices. From 1984 to 2000 the Argentinian-Brazilian interpreter produced and performed a CD collection of seven volumes, enclosing 54 contemporary piano pieces to exemplify 13 countries of Latin America. Aware of the public’s inexperience about this music, hardly divulged by the ordinary Western media at that time, Balzi adopted a pedagogical posture while organizing the compositions on her CDs, as we show in this article

Diversity in Flute Through Pedagogy and Repertoire: A Summary of Three Dissertation Recitals

As part of the requirements for the degree of Doctor of Musical Arts (Music: Flute) in the University of Michigan, I performed three recitals. The program chosen for the recitals represented the areas of study, research and interest that I dedicated myself to develop during my doctorate studies. Each recital focuses on very different repertoire; however, two unifying threads run through them. The first one is the pedagogical approach to all recitals, where I care about the performance of the works and how to present them to my future students. Secondly, the importance of Diversity, Equity and Inclusion, a personal priority in my life, here presented through programing and education. The programs presented works by underrepresented composers, such as Latin American and women composer; a new approach to etude study and finally the performance of different types of flute for a more varied and historically informed performance and pedagogical approach. The first recital, Latin American Music Initiative: changing the anonymity of Latin American Composers and the Invisibility of their works showcased works edited, commissioned and promoted by my organization, the Latin American Music Initiative (LAMI), an organization created and developed with Régulo Stabilito (DMA’22) at the University of Michigan with the support and guidance of SMTD Faculty. The second recital Understanding Flute Etudes: The Backbone of a Flutist’s Growth was a lecture recital with a pedagogical approach. This recital presented my research on contextualizing composers of flute etude books and proposing the assignment of flute etudes based on the historical contextualization of the repertoire to be studied. This approach would expand the conversations about stylistic interpretation and performance practices of the repertoire studied and would allow for a deeper and extended exposure allowing for a comprehensive approach to flute lessons. In this recital, I gave a historical contextualization based on a timeline and the development of the flute. Important composers of etudes and repertoire were performed side by side showcasing similarities of approach among both works. Finally, I offered an detailed table that contextualized flute etudes books and the repertoire it would influence based on the era of composition. A third area of study, developed during my studies at the University of Michigan is the performance of a new instrument, the one-keyed flute. The study and understanding of this instrument, which was the flute used during the baroque era, has allowed me to learn about the possibilities of the instrument. This process has helped me to contextualize the performance practices of this repertoire and become a better teacher and performer. The four of the five pieces of this repertoire were performed on the one-keyed flute and the fifth piece was performed on the modern flute, making a connection between an appropriate approach to perform baroque works that respects the performance practices and possibilities of the baroque instrument. Finally, it is important to mention that my selection of the repertoire was deeply affected by the fact that the three recitals were presented during the COVID-19 quarantine months. All works performed were recorded at home in a solo format or with the collaboration of my husband, Régulo Stabilito on the cuatro and baroque guitar. The limitations of these recitals created a challenge that allowed me to grow and present three performances experimenting with technology and a more creative approach.AMUMusic: PerformanceUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/162861/1/mfcastil_1.pd