Classical Tones: 20170830

August 30, 2017

20:57 3:00 Station ID, Promos, PSAs
21:00 1:00 <Theme 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 una pieza llamada "Medioda en el Llano" de Antonio Estvez. Es una evocacin sinfnica de Los Llanos, las amplias y lisas praderas de los altiplanos de Venezuela. Las praderas invitaban a enormes manadas de ganado llevadas hasta all en la poca colonial por los llaneros, la respuesta venezolana al "cowboy de Estados Unidos. El director de orquesta venezolano Gustavo Dudamel, explica que "Es una de las primeras piezas de Estvez. Es muy impresionista, influida por Debussy, lenta, con hermosas melodas dentro de colores diferentes. El compositor proceda de Los Llanos y la obra rinde homenaje a ese lugar." Escucharemos a Dudamel dirigir a la Orquesta Sinfnica de la Juventud Venezolana Simn Bolvar.

Let's begin with a work called "Medioda en el Llano" (Noon on the Plains) by Antonio Estvez. It's a symphonic evocation of Los Llanos, the broad, flat grasslands of Venezuela's high steppes. The plains were inviting to vast herds of cattle brought in during the colonial era by the "llaneros", Venezuela's answer to the American cowboy. The Venezuelan conductor Gustavo Dudamel, explains that "This is one of Estvez' early pieces. It's very impressionistic, influenced by Debussy, slow, with beautiful melodies inside different colors. The composer came from Los Llanos, and the piece pays homage to that place." We'll hear Dudamel conducting the Simn Bolvar Youth Orchestra of Venezuela.

21:03 8:01 Antonio Estvez (1916-1988) Medioda en el Llano
Simn Bolvar Youth Orchestra of Venezuela, Gustavo Dudamel

La "Meloda en el Llano" de Antonio Estvez fue interpretada por la Orquesta Sinfnica de la Juventud Venezolana Simn Bolvar dirigida por Gustavo Dudamel.

The "Medioda en el Llano" by Antonio Estvez was performed by the Simn Bolvar Youth Orchestra of Venezuela conducted by Gustavo Dudamel.

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Joaqun Rodrigo escribi su "Concierto Madrigal" para miembros de la clebre familia de guitarristas, Los Romero. La obra se complet en 1968 y se estren en Los Angeles en 1970 con Pepe y Angel Romero como solistas. Se llama "Concierto Madrigal" porque est basada en un madrigal annimo del renacimiento, "Felices ojos mos". La destacada meloda de este madrigal, la cual es anunciada por la flauta en el segundo movimiento, se desarrolla en 10 movimientos cortos, o episodios, en lugar de tres movimientos como es lo normal en un concierto clsico. Los movimientos se llaman, "Fanfarre", "Madrigal", "Entrada", "Pastorcito, tu que vienes, pastorcito, tu que vas", "Giradilla", "Pastoral", "Arieta", "Zapateado" y "Caccia a la espaola". Pepe y ngel Romero estn acompaados por la Academy of St Martin-in-the-Fields dirigida por Neville Marriner.

Joaqun Rodrigo wrote his "Concierto Madrigal" for members of the celebrated family of guitarists, Los Romeros. The work was completed in 1968 and received its first performance in Los Angeles in 1970 with Pepe and Angel Romero as soloists. It is called "Concierto Madrigal" because it is based on an anonymous Renaissance madrigal, "Felices ojos mios" (Happy eyes of mine). The prominent melody from this madrigal, which is announced by the flute in the second movement, is treated in variation style in 10 short movements or episodes, rather than the usual three movements of the classical concerto. The movements are called "Fanfare", "Madrigal", "Entrance", "Little shepherd, you who come, little shepherd, you who go", "Little turn", "Pastoral", "Fandango" "Arieta", "Zapateado" and "Spanish Caccia". Pepe and Angel Romero are accompanied by the Academy of St. Martin-in-the-Fields conducted by Neville Marriner.

21:13 28:58 Joaqun Rodrigo (1902-1999) Concierto Madrigal for two guitars & orch.
Pepe & Angel Romero, guitars
Academy of St. Martin-in-the-Fields, Neville Marriner

Est escuchando Tonos Clsicos, el programa de msica clsica "con una conexin latina" desde los estudios de KBBF en Santa Rosa, California. Acabamos de escuchar el "Concierto Madrigal para dos Guitarras y Orquesta" de Joaqun Rodrigo interpretado por los hermanos Pepe y ngel Romero en las guitarras, acompaados por la Academy of St. Martin-in-the-Fields bajo la batuta de Neville Marriner.

You are listening to Classical Tones, the program of classical music "with a Latin connection" from the studios of KBBF in Santa Rosa, California. We just heard the "Concierto Madrigal for Two Guitars and Orchestra" by Joaqun Rodrigo performed by brothers Pepe and Angel Romero on the guitars, accompanied by the Academy of St. Martin-in-the-Fields under the baton of Neville Marriner.

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El tenor peruano Juan Diego Flrez se cri con los sonidos de la msica latinoamericana. Su padre, Rubn, era cantante de canciones populares peruanas - en particular las de Chabuca Granda, de las cuales el joven se enamor mucho. Las composiciones de Chabuca Granda combinan el bolero tradicional y elementos de la msica folclrica criolla o afro-peruana. Tal vez su composicin ms famosa es "La flor de la canela". Es considerado un himno de Lima - comienza con las palabras, "Djame que te cuente limeo..." Escucharemos a Juan Diego Flrez cantando su propio arreglo con el guitarrista David Glvez y la Orquesta Sinfnica de Fort Worth dirigida por Miguel Harth-Bedoya.

The Peruvian tenor Juan Diego Flrez was brought up with the sounds of Latin-American music. His father, Rubn, was a singer of popular Peruvian songs - particularly those by Chabuca Granda, for which the boy developed an early affection. Her compositions infuse the traditional bolero with elements of native Creole or Afro-Peruvian folksong. Perhaps her most famous composition is "La flor de la canela" (The Cinnamon Flower). It is considered an anthem for Lima - it starts out with the words "Let me tell you, man of Lima". We'll hear Juan Diego Flrez singing his own arrangement with guitarist David Glvez and the Fort Worth Symphony Orchestra directed by Miguel Harth-Bedoya.

21:45 3:42 Chabuca Granda (1920-1983) La flor de la canela, arr. Juan Diego Flrez
Juan Diego Flrez, tenor
David Glvez, guitar
Fort Worth Symphony Orchestra, Miguel Harth-Bedoya

"La flor de la canela" de Chabuca Granda fue cantada por Juan Diego Flrez acompaado por David Glvez en la guitarra y la Orquesta Sinfnica de Fort Worth dirigida por Miguel Harth-Bedoya.

"La flor de la canela" (The Cinnamon Flower) by Chabuca Granda was sung by Juan Diego Flrez accompanied by David Glvez on the guitar and the Fort Worth Symphony Orchestra directed by Miguel Harth-Bedoya.

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Terminaremos esta hora con un poco de Chopin. El compositor polaco Frdric Chopin estaba fascinado con la nueva forma musical inventada por el compositor irlands John Field en 1814. Un "nocturno" es una pieza de msica romntica para piano con una meloda refinada y elegante, adornada con delicadeza, con un acompaamiento oscilando suavemente, normalmente con arpegios dramticos. Chopin escuch a Field interpretando sus nocturnos en Paris en 1832 y le encant la frmula; acab escribiendo 20 nocturnos propios.

Una de las intrpretes ms destacadas de la msica de Chopin del siglo 20 fue la pianista brasilea Guiomar Noves. La escucharemos interpretar el nocturno nmero 7, Opus 27 nmero 1 en do sostenido menor.

Let's finish up this hour with a little Chopin. The Polish composer Frdric Chopin was fascinated by a new musical form that had been pioneered by the Irish composer John Field in 1814. A "nocturne" is a piece of romantic music for the piano with a tender and gracious melody, delicately ornamented, with a softly swaying accompaniment, usually in sweeping arpeggios. Chopin heard Field play his nocturnes in Paris in 1832 and was captivated by the formula; he ended up writing 20 of his own.

One of the greatest interpreters of Chopin's music in the 20th century was the Brazilian pianist Guiomar Noves (gee-oo-mar noo-vhn-ehsh). Let's listen to her play Chopin's nocturne number 7, Opus 27 number 1 in C sharp minor.

21:50 5:03 Frdric Chopin (1810-1849) Nocturne No. 7, Op. 27 No. 1
Guiomar Noves, piano

El Nocturno No. 7 de Frdric Chopin fue interpretado por Guiomar Noves al piano.

The Nocturne No. 7 of Frdric Chopin was performed by Guiomar Noves at the piano.

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21:56 <Theme music>

[Est escuchando Tonos Clsicos, su programa de la msica clsica "con una conexin latina". Regresaremos 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 in 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.]

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El gran compositor ruso romntico Piotr Ilich Chaikovski admiraba mucho a William Shakespeare. De ah que cuando su buen amigo, el msico y compositor Mila Balakirev, le sugiriera la idea de escribir una obra orquestal sobre el tema de "Romeo y Julieta," manifest de inmediato su entusiasmo. Le llev mucho tiempo dar con la clave. La magistral versin con que estamos familiarizados fue el tercer intento, once anos despus del estreno del primero. No sigue literalmente el texto sino que trata de una magnfica destilacin del drama central y las emociones de la obra. La escucharemos interpretada por la Orquesta Simn Bolvar de Venezuela dirigida por Gustavo Dudamel.

The great Russian romantic composer Peter Ilyich Tchaikovsky was a big fan of William Shakespeare. So when his good friend, the musician and composer Mila Balakirev, suggested to him the idea of writing an orchestral piece on the theme of Romeo and Juliet, he was immediately enthused. It took him a long time to get right. The masterly version we're familiar with today was the third attempt, eleven years after the premiere of the first. It does not follow the play literally but it's a superb distillation of the central drama and emotions of the work. We'll hear it performed by the Simn Bolvar Symphony Orchestra of Venezuela conducted by Gustavo Dudamel.

22:02 22:14 Peter Ilyich Tchaikovsky (1840-1893) Romeo and Juliet Fantasy Overture
Simn Bolvar Symphony Orchestra of Venezuela, Gustavo Dudamel

Acabamos de escuchar la Obertura Fantasa Romeo y Julieta de Piotr Ilich Chaikovski interpretada por la Orquesta Simn Bolvar de Venezuela dirigida por Gustavo Dudamel. Y la escuchamos aqu en Tonos Clsicos, el programa de msica clsica con "una conexin latina" desde los estudios de KBBF en Santa Rosa California.
We just heard the Romeo and Juliet Fantasy Overture by Peter Ilyich Tchaikovsky performed by the Simn Bolvar Symphony Orchestra of Venezuela conducted by Gustavo Dudamel. And we heard it here on Classical Tones, the program of classical music "with a Latin connection" from the studios of KBBF in Santa Rosa, California.

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A continuacin escucharemos tres piezas de la Espaa de comienzos del siglo 16. La primera es del laudista y compositor Enrique de Valderrabano que lo llam "De dnde vens amore?" La segunda es de Luis de Narvez y est basada en una de las canciones ms conocidas del renacimiento espaol. Se llama "Con qu la lavar?" y se trata del lamento de una mujer negra que se preocupa por el color de su piel. Al final escucharemos una obra annima llamada "La ms graciosa serrana." Estn interpretadas por los "Ancient Consort Singers" digiridos por John Alexander y el "Ancient Instrumental Ensemble" bajo Ron Purcell.

Next up we'll hear three pieces from early 16th-century Spain. The first is by the lutenist and composer Enrique de Valderrabano, who called it "De dnde vens amore?" (Where do you come from my love?). The second is by Luis de Narvez and is based on probably one of the best-known songs of the Spanish Renaissance. It is called "Con qu la lavar?" (What will I wash it with) and has to do with the lament of a black woman who is unhappy about the color of her skin. Finally we'll hear an anonymous work called "La ms graciosa serrana" (The most beautiful mountain shepherdess." They are performed by the Ancient Consort Singers directed by John Alexander and the Ancient Instrumental Ensemble under Ron Purcell.

22:26 1:38 Enrique de Valderrabano (ca.1500-1557) De dnde vens, amore?
2:52 Luis de Narvez (ca.1500-1556) Con qu la lavar?
0:56 Anonymous (Spanish Renaissance) La ms graciosa serrana
Ancient Consort Singers, John Alexander
Ancient Instrumental Ensemble, Ron Purcell

Esos fueron tres piezas espaolas del siglo 16, "De dnde vens amore?" de Enrique de Valderrabano, "Con qu la llavar?" de Luis de Narvez y una composicin annima llamada "La ms graciosa serrana". Los "Ancient Consort Singers" fueron digiridos por John Alexander y el "Ancient Instrumental Ensemble" por Ron Purcell.

That was three Spanish pieces from the 16th century, "Where do you come from my love?" by Enrique de Valderrabano, "What will I wash it with?" by Luis de Narvez and an anonymous composition called "The most beautiful mountain shepherdess". The "Ancient Consort Singers" were led by John Alexander and the "Ancient Instrumental Ensemble" by Ron Purcell.

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De los comienzos del siglo 16, avanzaremos ms de cuatro siglos al final del siglo 20. El compositor espaol Leonardo Balada acab su obra "Sueos folclricos" en 1998. Es una suite de tres movimientos llamados "Lnea y truenos," "Sombras" y "Ecos sobre melodas irlandeses" basados en melodas folklricas de Letonia, Catalua e Irlanda. Las melodas son presentadas como en un sueo, con una visin surrealista en la manera en que los componentes se despliegan. La Orquesta Sinfnica de Barcelona es dirigida por Mathias Aeschbacher.

From the early 16th century, let's move forward more than four centuries to the late 20th century. The Spanish composer Leonardo Balada completed his work "Folk Dreams" in 1998. It is a suite of three movements, called "Line and Thunder," "Shadows" and "Echoes on Irish melodies" based on folk melodies from Latvia, Catalonia and Ireland. The melodies are presented as in a dream, with a surrealistic vision in the way its components unfold. The Barcelona Symphony Orchestra is conducted by Mathias Aeschbacher.

22:34 19:19 Leonardo Balada (1933-) Folk Dreams
Barcelona Symphony Orchestra, Matthias Aeschbacher

Acabamos de escuchar "Sueos folclricos" de Leonardo Balada interpretados por la Orquesta Sinfnica de Barcelona dirigida por Mathias Aeschbacher.

We just heard "Folk Dreams" by Leonardo Balada performed by the Barcelona Symphony Orchestra conducted by Mathias Aeschbacher.

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22:53 <Theme 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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