Classical Tones: 20170308

Mar 8, 2017

20:57 3:00 Station ID, Promos, PSAs
21:00 1:00 <Intro music>

[Buenas noches. Desde los estudios de KBBF, la primera estacin comunitaria bilinge en los Estados Unidos, soy su presentadora, Nora Villanueva, y les doy la bienvenida a esta edicin de "Tonos Clsicos," su programa de msica clsica con "una conexin Latina." Cada semana a esta hora exploramos la cultura musical de Espaa y Latinoamrica.]

[Good evening. from the studios of KBBF, the first bilingual community radio station in the United States, this is your host, Nora Villanueva, welcoming you to this edition of "Classical Tones," your program of classical music "with a Latin connection." Every week at this time we explore the musical culture of Spain and Latin America.]

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Comencemos con msica de Brasil. Entre 1920 y 1929 el gran compositor brasilero Heitor Villa-Lobos escribi una serie de 15 composiciones llamadas "Chros". Estn inspiradas en la msica de Rio de Janeiro de los "botequines", que son similares a las bodegas espaolas, es decir, un sitio frecuentado por los bohemios donde se puede beber y comer. El Chro nmero 10 lleva el ttulo del poema Rasga o Coraao" (rasga el corazn) de Catulo de Paixao Cearense. Las palabras y slabas del poema son utilizadas libremente para enfatizar el ritmo de la pieza. Eduardo Mata dirige la Orquesta Sinfnica Simn Bolvar de Venezuela.

Let's start the show with some music from Brazil. Between 1920 and 1929 the great Brazilian composer Heitor Villa-Lobos wrote a series of 15 compositions called "Chros". They are inspired by the music of Rio de Janeiro's "botequins", which are like a Spanish "bodega", that is, a bohemian hangout serving drinks and snacks. Chros number 10 bears the title of the poem "Rasga o Coraao" (Tear the Heart) by Catulo de Paixao Cearense (katooloo day pie-shau sayarensay). The words and syllables of the poem are used freely to emphasize the rhythm of the piece. Eduardo Mata conducts the Simn Bolvar Symphony Orchestra of Venezuela.

21:03 12:18 Heitor Villa-Lobos (1887-1959) Chros no. 10
Eduardo Mata, Simn Bolvar Symphony Orchestra of Venezuela

El mexicano Eduardo Mata acaba de dirigir la Orquesta Sinfnica Simn Bolvar de Venezuela en una interpretacin del "Chro nmero 10" de Heitor Villa-Lobos aqu en el programa "Tonos Clsicos" con su servidora Nora Villanueva.

The Mexican conductor Eduardo Mata has just led the Simn Bolvar Symphony Orchestra of Venezuela in a performance of the "Choro number 10) by Heitor Villa-Lobos here on the program "Classical Tones" with your host Nora Villanueva.

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Continuemos con otro compositor del siglo 20. El ruso Igor Stravinsky demostr su trayectoria como vanguardista cuando escribi la msica para el ballet "Le Sacre du Printemps" (La consagracin de la primavera). Tanto que caus una gran conmocin cuando se estren en Paris en 1913. La audiencia estaba acostumbrada al refinamiento y la elegancia del ballet clsico y se escandaliz con la partitura sumamente rtmica, el escenario primitivo, y la coreografa intensa, casi violenta. Hubo abucheos y silbidos y fuertes discusiones entre opositores y partidarios de la obra, seguidas de gritos y puetazos en los pasillos. La polica lleg antes del intermedio, pero no consigui restablecer el orden durante el resto de la funcin. El ballet cuenta la historia de un ritual pagano en el que una muchacha baila hasta su muerte. Est dividido en dos partes, "La adoracin de la tierra" y "El sacrificio." La msica utiliza ritmos complicados e impulsivos, armonas audaces y una disonancia prominente. Escucharemos a Gustavo Dudamel dirigir a la Orquesta Sinfnica de la Juventud Venezolana Simn Bolvar.

Let's continue with another 20th century composer. The Russian Igor Stravinsky proved his avant-garde credentials when he wrote the music for the balet "Le Sacre du Printemps" (The Rite of Spring). So much so that it caused a riot when it premiered in Paris in 1913. The audience was used to the refinement and elegance of classical ballet and was shocked by the intensely rhythmic score, the primitive scenario and the intense, almost violent choreography. There were boos and catcalls and loud arguments between opponents and supporters of the work, followed by shouts and fistfights in the aisles. The police arrived by intermission, but order was never completely restored for the remainder of the performance. The ballet tells the story of a pagan ritual in which a young girl dances herself to death. It is divided into two parts, "The adoration of the earth" and "The exalted sacrifice." The music uses complicated, driving rhythms, adventurous harmonies and prominent dissonance. We'll hear Gustavo Dudamel conducting the Simn Bolvar Youth Orchestra of Venezuela.

21:18 34:00 Igor Stravinsky (1882-1971) Le Sacre du printemps
Simn Bolvar Youth Orchestra of Venezuela, Gustavo Dudamel

Acabamos de escuchar "La consagracin de la primavera" de Igor Stravinsky interpretada por la Orquesta Sinfnica de la Juventud Venezolana Simn Bolvar dirigida por Gustavo Dudamel.

We just heard "The Rite of Spring" by Igor Stravinsky performed by the Simn Bolvar Youth Orchestra of Venezuela conducted by Gustavo Dudamel.

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Andrs Segovia fue el hombre que devolvi la guitarra a la sala de concierto despus de un lapso de 100 aos. Desde los comienzos de los 1900 hasta los comienzos del siglo 20, no se escribi casi ninguna msica clsica para ese instrumento. A causa de su tcnica impecable y la gran maestra se su arte, Segovia pudo convencer a varios compositores para que escribieran nuevas obras para la guitarra. Un ejemplo es esta pieza llamada Madroos de Federico Moreno Torroba.

Andrs Segovia was the man who brought the guitar back into the concert hall after a lapse of 100 years. From the early 1900s to the early 20th century, almost no classical music was written for the instrument. Through his flawless technique and masterful artistry, Segovia was able to convince a number of composers to write new works for guitar. An example is this piece, called Madroos (strawberry tree), by Federico Moreno Torroba.

21:53 2:50 Federico Moreno Torroba (1892-1982) Madroos
Andrs Segovia, guitar

Eso fue "Madroos" de Federico Moreno Torroba interpretada por Andrs Segovia en la guitarra.

That was "Madroos" by Federico Moreno Torroba performed by Andrs Segovia on the guitar.

21:56 <Intro music>

[Est escuchando Tonos Clsicos, su programa de la msica clsica "con una conexin latina". Regresamos con la segunda hora de esta hermosa msica en un par de minutos.]

[You're listening to Classical Tones, your program of classical music "with a Latin connection". We'll return with the second hour of this beautiful music en a couple minutes.]

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[Me alegro de que haya vuelto a nuestro programa "Tonos Clsicos" desde los estudios de KBBF en Santa Rosa California. Toda la msica tiene alguna conexin con Espaa o Latinoamrica.]

[Welcome back to "Classical Tones" from the Studios of KBBF in Santa Rosa California. All the music has some connection to Spain or Latin America.]

El concierto con instrumento de solista fue producto de la era barroca, pero no se desarroll hasta las ltimas dcadas del siglo 18, principalmente gracias a las esfuerzas de Wolfgang Amadeus Mozart. En sus manos, se convirti en la forma que conocemos hoy, normalmente con tres movimientos (en una secuencia rpido-lento-rpido) y mezclando contenido serio con exposicin de virtuosismo. Su Concierto para piano nmero 21 en do, terminado en febrero de 1785, es entre las ms elegantes e imaginativas de estas composiciones. Escucharemos una interpretacin de la pianista espaola Alicia de Larrocha acompaada por la Orquesta de Cmara Inglesa bajo la batuta de Sir Colin Davis.

The solo concerto was a child of the Baroque era, but it did not come of age until the last decades of the 18th century, largely as a result of the efforts of Wolfgang Amadeus Mozart. In his hands, it became the form we know today, usually consisting of three movements (in a fast-slow-fast sequence) and combining serious content with virtuosic display. His Piano Concerto number 21 in C, completed in February 1785, is among the most elegant and imaginative of these compositions. We'll hear an interpretation by the Spanish pianist Alicia de Larrocha backed up by the English Chamber Orchestra under the baton of Sir Colin Davis.

22:02 29:23 Wolfgang Mozart (1756-1791) Concerto No. 21 in C, K 467
Alicia de Larrocha, piano
English Chamber Orchestra, Sir Colin Davis

Est escuchando Tonos Clsicos, el programa de la msica clsica "con una conexin latina" con su servidora Nora Villanueva, desde los estudios de KBBF en Santa Rosa California. Donde acabamos de escuchar el "Concierto para piano nmero 21 en do" de Mozart interpretada por la pianista espaola Alicia de Larrocha acompaada por la Orquesta de Cmara Inglesa dirigida por Sir Colin Davis.

You are listening to Classical Tones, the program of classical music "With a Latin connection" with your host Nora Villanueva, from the studios of KBBF in Santa Rosa California. Where we just heard Mozart's Concerto No. 21 in C performed by the Spanish pianist Alicia de Larrocha accompanied by by the English Chamber Orchestra conducted by Sir Colin Davis.

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El dolor de la ausencia, el peso del recuerdo, la angustia de la vida lejos del bien amado, todo est captado en esta cancin de un compositor annimo del siglo 17, llamada "En esta larga ausencia." La soprano espaola, Isabel Garcisanz, est acompaada por Jean-Patrice Brosse al rgano.

The pain of absence, the weight of remembrance, the weariness of life when away from the beloved, are all captured in this song by an anonymous 17th-century composer, called "En esta larga ausencia" (During This Long Absence). The Spanish soprano Isabel Garcisanz is accompanied by Jean-Patrice Brosse on the organ.

22:33 3:25 Anonymous (17th century) En esta larga ausencia
Isabel Garcisanz, soprano
Jean-Patrice Brosse, organ

Esa fue una cancin de un compositor annimo del siglo 17 llamada "En esta larga auscncia" cantada por Isabel Garcisanz acompaada por Jean-Patrice Brosse al rgano.

That was a song by an anonymous 17th century composer called "During this Long Absence" sung by Isabel Garcisanz accompanied by Jean-Patrice Brosse at the organ.

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Sigue otra obra del siglo 17 pero escrita por un compositor del siglo 20. Hay una larga tradicin con la msica clsica por la que un compositor transcribe una obra escrita por otra persona en una nueva obra que utiliza instrumentos diferentes. El compositor mexicano del siglo 20, Carlos Chvez, tuvo fama por su msica moderna de vanguardia pero tambin le fascin el contrapunto intrincado de una obra para rgano de la era barroca llamada "Chaconne en mi menor", escrita por el compositor dans Dietrich Buxtehude. A propsito, Buxtehude tuvo mucha fama en su vida - Una vez Johann Sebastian Bach anduvo a pie 200 millas slo para asistir a una de sus interpretaciones. Chavez estren su transcripcin del "Chaconne en mi menor" en un concierto con la Orquesta Sinfnica de Mxico en 1937. La escucharemos ahora interpretada por la Orquesta Sinfnica Simn Bolvar de Venezuela, dirigida por Keri-Lynn Wilson.

Here comes another 17th century work, but written by a 20th century composer. Classical music has a long tradition of a composer transcribing a work written by someone else into a new work using different instruments. The 20th century Mexican Composer Carlos Chvez was known for his leading-edge "modern" music but he was also fascinated by the intricate counterpoint of a Baroque-era work for organ, the "Chaconne in E minor," written by the Danish composer Dietrich Buxtehude. Buxtehude, by the way, was very famous in his time - Johann Sebastian Bach once walked 200 miles just to hear him play. Chavez premiered his transcription of the Chaconne in E minor in a concert by the Mexico Symphony Orchestra in 1937. We'll now hear it played by the Simn Bolvar Symphony Orchestra of Venezuela, conducted by Keri-Lynn Wilson.

22:39 6:22 Dietrich Buxtehude (1637-1707) Chaconne in E minor
Transcr: Carlos Chvez (1899-1978)
La Orquesta Sinfnica Simn Bolvar de Venezuela, Keri-Lynn Wilson

Acabamos de escuchar la "Chaconne en mi menor" de Dietrich Buxtehude, transcrita por Carlos Chvez, e interpretada por la Orquesta Sinfnica Simn Bolvar de Venezuela dirigida por Keri-Lynn Wilson.

We just heard the "Chaconne in E minor" by Dietrich Buxtehude, transcribed by Carlos Chvez and performed by the Simn Bolvar Symphony Orchestra of Venezuela, conducted by Keri-Lynn Wilson.

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La prxima obra en el programa viene de un libro de msica para viola da gamba publicado en 1553 llamado "Tratado de glosas" del compositor y musiclogo espaol Diego Ortiz. Escucharemos dos Ricercadas de la obra interpretadas por el cuarteto Red Priest.

The next work on the program comes from a book of music for the viola da gamba published in 1553 called "Tratado de glosas" by the Spanish composer and musicologist Diego Ortiz. We'll hear two Ricercatas from it played for us by the quartet Red Priest.

21:47 3:14 Diego Ortiz (c.1510-c.1570) 2 Ricercadas
Red Priest

Estas fueron 2 recercadas de Diego Ortiz interpretadas por el cuarteto Red Priest.

That was two ricercadas by Diego Ortiz interpreted by the quartet Red Priest.

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Francisco Mignone naci en So Paulo Brasil en 1897 y era hijo de inmigrantes italianos. Su padre le introdujo a la flauta y al piano. De nio, sola pasear por las calles de So Paulo improvisando canciones populares llamadas "Choros" con su flauta acompaada de ukeleles y guitarras. De adulto escribi una serie de valses para piano llamados "Valsas Brasileiras". En estas obras se puede or los ecos nostlgicos de los choros y figuraciones parecidas a la guitarra como: acordes con arpegios para simular el rasgueado, tonos repetidos, notas staccato, y rubato, en que se demoran varias notas del tiempo estricto. Escucharemos el nmero 9 en si menor interpretado por Alexandra Mascolo-David al piano.

Francisco Mignone was born in So Paulo Brazil in 1897, the son of Italian immigrants. His father introduced him to the flute and the piano. As a youth, he would stroll the streets of So Paulo improvising popular songs called "choros" on his flute to the accompaniment of ukuleles and guitars. As an adult, he wrote a series of waltzes for piano called "Valsas Brasileiras". In these works, you can hear the nostalgic echoes of the choros and guitar-like figurations such as: arpeggiated chords to simulate strumming, repeated pitches, staccato touch and rubato, in which certain notes are intentionally delayed slightly from strict time. We'll hear number 9 in B minor played for us by Alexandra Mascolo-David at the piano.

22:52 2:47 Francisco Mignone (1897-1986) Valsas Brasileiras no. 9 in B minor
Alexandra Mascolo-David, piano

Acabamos de escuchar el Vals Brasileira nmero 9 de Francisco Mignone interpretado por la pianista Alexandra Mascolo-David.

We just heard the Vals Brasileira number 9 by Francisco Mignone played by pianist Alexandra Mascolo-David.

22:55 <intro music>

[Quisiera darles las gracias por sintonizar con "Tonos Clsicos", el programa de msica clsica desde los estudios de KBBF. Nos reunimos cada semana con dos horas de la mejor msica y msicos de Espaa y Latino Amrica. Soy su presentadora Nora Villanueva, y espero estar con ustedes otra vez la prxima semana.]

[I want to thank you for tuning in to "Classical Tones", the classical music show from the studios of KBBF. We're here every week with two hours of the best music and musicians from Spain and Latin America. This is your host Nora Villanueva, hoping to be with you again next week.]

22:58 2:00 <Station ID, Promos, PSAs>

 


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