VAUDEVILLE

Cover_Vaudeville_2INTRODUCTION AND SARDANA  for wind quintet (2002)

This is my personal salute to Catalonia, where I live for the last 20 years.

It is also in innocent joke, for I use as principal theme of the Sardana the theme of the last movement of Johannes Brahms´s first symphony. There it is presented in a noble and grand fashion, here very lightly and with a couple of wrong notes. This shows once more that any music played at a different speed and with changes of instrumentation, may sound as completely different piece of music.

 

MOVEMENT AND VARIATION  for solo flute.(1989 – revised in 1008)

The Variation  consist of a  new piece that  maintains, note for note, the order of the ones in the preceding one, but in fast tempo instead of a slow one and changing their hights and dynamics.

“CANTILENA” (Ballad) for oboe solo. (January 2008)

A short and romantic piece in ternary form, written in a few days in a lyrical, almost pastoral mood.

LITTLE MUSIC for piano  (1988 – revised 1998)

My original intention was to write a piece of certain length that would not respond to any preconceived musical form. I knew that was not possible for music tends to group itself spontaneously in formal groups.

Therefore three sections are noticeable: The first explores the rhythmic possibilities of groups of notes that repeat themselves with slight variations.

The second is a very lyric and melodic episode accompanied by arpeggiated chords.

The third is a return to the rhythmic aspect of the beginning, that works as a “coda”,  and dies away into silence.

NOCTURNE for piano (2007)

Written in a very short span of a couple of days, this work  shows the lyrical post-romantic style in which I ´m working at present.

Full of tonal references, it has a more agitated middle section and ends calmly in c sharp minor.

SONATA for piano No. 2 (l987 – revised in 2007)

Originally written for piano 4 hands, I rewrote it completely in 2007 for solo piano. I must admit I strongly prefer this  second version.

This first movement has the subtitle “mechanically” as tempo indication.

The second is very slow and impressionistic while the third is an uninhibited piece of pianistic virtuosism.

3 POEMS OF NORAH LANGE for mezzo-soprano and piano (1976)

This is one of the first items in my catalogue of works, since I had destroyed all that I wrote from early age to that point.

Norah Lange was a quite well known poet in the intellectual groups of the Argentina of that period, but completely unknown outside its frontiers.

In the first song one feels a bucolic melancholy. I´d like to point out that, much later, I used it as a fragment, and as a motive, in my opera “Carvajal”.

The second song alternates passages of irregular rhythms with less active moments, in the “recitative” style. At the end, there is an “ostinato” beginning in 11/8 time that I imagine  as a dance.

The third is dramatic and declamatory, building up to a great climax . .

I associate each song with a different pictorical style: Impressionism, Cubism and Expresionism.

“VAUDEVILLE”  for oboe, English horn and bassoon (1983)

This is a little trio in 4 movements played without a stop. Its name comes from the burlesque character of the last movement, and gives a title name to the whole CD.

Notes by Osias Wilenski


TRACKS ANS INFORMATION

Introduction and Sardana for wind quintet (2002)
Sandra Luisa Batista, flute; Emili Pascual, oboe;
Jaume Sanchis Carretero, clarinet; Emili Martinez Aragó, horn;
Juan Pedro Fuentes Gimeno, Bassoon

Movement ans variation for solo flute (1989 – revised in 2008)
Sandra Luisa Batista, flute

Cantinela for solo oboe (2008)
Emili Pascual, Oboe

Little music for piano  (1988 – revised in 1998)
Osias Wilenski, piano

Nocturno for piano (2007)
Osias Wilenski, piano

Sonata no.2 for piano (1987 – revised in 2007)
Osias Wilenski, piano

3 Poems by Norah Lange for mezzo-soprano and piano (1976)
Marisa Martins, mezzo-soprano; Osias Wilenski, piano

Vaudeville for oboe, cor anglais and bassson (1983)
Emili Pascual, oboe; Raúl Pérez Piera, cor anglais;
Juan Pedro Fuentes Gimeno, Bassoon

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