LILIANA CANGIANO PDF

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Thanks for coming to hear us! This music is full of rhythm, color, light, and energy. I am a better and stronger musician for having worked with them, and our entire organization appreciates the opportunity cangino combine our art forms for this program. With our neighbor being Mexico, we might think especially of mariachi music, which originated around Guadalajara, as well as the famous Mexican Hat Dance the jarabe tapatio, also from the same region.

Mexico is seeing a particular rise in such activity, thanks to the efforts of a number of tireless composers who also serve as producers, promoters, and festival organizers and as cultural ambassadors for Mexico to the outside world. We are fortunate to count them as colegas buenos and amigos queridos.

And what do Mexican choirs sing? Well, that was part of what I learned when I visited Mexico last May. How many American choirs sing American music and nothing else? Mexican choral musicians are rather like their American counterparts.

Cuando Tu No Estas

They love music from us norteamericanos; they love European music, to which some of them feel quite connected; they love madrigals. Most of them love pop and vocal percussion, and they are just as curious and eager for cool cangaino as we lilisna up here. Therefore, very few Mexican choirs specialize in singing Mexican choral music exclusively. Another is the group Melos Gloriae, which specializes in the amazing cathedral polyphony of the early Mexican Catholic church. Read my Mexico blog for more details and photos of that experience.

As I was handed CD after CD by choral conductors in Mexico, which serve as business cards down there, I started noticing a few patterns. I saw that several songs were favorites of many ensembles, as is the case here. That was a cool surprise. In fact, some of the songs most beloved by Mexican choirs are from Cuba, some from Bolivia and Colombia, some from up here in the USA, and so on. Indeed, on my first weekday in Mexico City, whom should I meet but Prof. Digna Guerra, probably the greatest Cuban choral conductor active today, who was finishing up a two-year exchange program at one of the music schools there.

As I write these notes, President Obama is taking steps to normalize diplomatic relations with Cuba, which canfiano do wonders for our appreciation of that incredibly rich culture, from which we have been isolated for too long. This is a major shift from a few decades ago and marks how important Latino culture is in our region. And yet, even as we can look at trends and large societal shifts, I want to share something that has happened for me very personally as part of this project.

Putting this concert together has opened my eyes and ears to the greatness of Latino culture, not only here in Chicago but all around. More importantly, however, this project liluana opened my heart.

Toward the end ofI found czngiano Spanish-language tutor, with whom I started to meet weekly at a local Starbucks. We would speak Spanish for most of an hour. The first time, my head felt like it was about to explode, from the stretching of language neurons or something like that.

Maureen is a lifelong teacher who has taught all over the city and in many places in the world, and she was a kind and patient tutor. I began listening to Mexican radio stations on the way to and from work. At first, I was mostly lost, but over time I could catch more and more words. And as my Spanish proficiency slowly improved, something unexpected happened.

I had the sensation that a film was being lifted from my eyes, allowing me to see what had always been there but which, culturally, I had been somehow trained to ignore.

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I began to notice people speaking Spanish everywhere in my life. I began speaking Spanish to them, haltingly, but with an open heart. And even before I ever got on a plane to go to Mexico, the response I received has truly altered my experience of living in the Chicago area. People have been gracious, generous, kind, thoughtful, grateful for my interest in their culture, curious about ours. A bartender at a Mexican restaurant in Forest Park, where I was getting some late-night takeout, opened right up and engaged in a warm, deep conversation.

My new favorite coffee shop in the western suburbs is run by an entrepreneur from Chiapas who grows his own beans there and sells them all over the world; he has two locations now and I enjoy helping him rejoice at his success. I now feel that I literally see what I did not have the ability to see before learning Spanish — millions of people who live and work and raise their families here and make this city a great place.

Given what has been happening in Ferguson and elsewhere, when there is so much mistrust and misunderstanding between segments of our culture, I feel blessed and grateful to have been allowed an experience in the other direction, toward listening and appreciating and coming to truly love a new culture.

It has humbled and opened me to see what was already here.

Cuando Tu No Estas Sheet Music by Carlos Gardel (SKU: S) – Stanton’s Sheet Music

That is a gift that I will cherish for my entire life. Welcome, and thank you. The opening bass-and-percussion motif sets the stage for a layering of musical lines. As one cangaino after another enters, the result is something like a Venezuelan band, with the voices taking characteristic syllables of the instruments they imitate. The tune made it north of the Rio Grande in the s, when Johnny Mercer produced the Andy Russell recording that became one of the first big hits for Capitol Records.

Jimmy Dorsey took it to 1 on the Billboard chart in Naranjitay In Spanish, a naranja is an orange, and a naranjita is a little orange. Matthew, and that to me is a reflection of a personal conviction as well as the essentials of the teachings of that mythical character.

The simplicity of these truths cangiaho constant verification thereof, was the impetus that got to shape a musical treatment of open structure, sound full of surprises with the idea of strengthening and opening sonic horizons, converging and moving them, to a common point, as the saying goes: There canfiano only one way, there is only one end: We cangian honored to present this composition in its world premiere in The prominent Colombian composer Alberto Carbonell has created this liliaan cappella version of Prende la vela, popular with choirs throughout Latin America, including the Staccato ensemble at UNAM in Mexico City, led by Marco Ugalde, whose recording inspired us to include it on this program.

This dance is done at night and therefore requires a lit candle. Manuel de Falla, arr. The seven songs are taken from folk material derived from different regions in Spain, the asturiana coming from Asturia. The composer had recently relocated to Spain after seven years in Paris, and the impressionism of the time does make its way into these songs.

The accompaniment here is achingly spare, transcribed for these performances by Jonathan Miller in a new a cappella format. Blinded in his youth by diphtheria, Rodrigo completed formal piano studies at the age of sixteen and kiliana the next six years studying violin, harmony and composition.

Following the Spanish Civil War, Rodrigo returned to Madrid, where he led artistic activities for the national organization for the blind, began work as a music critic, and continued composing.

The Concierto de Aranjuez liliiana his reputation as a composer of international stature. In he was named to the music faculty at the Complutense University in Madrid. He is known primarily for orchestral, chamber, and other instrumental works, all of which he wrote first in Lliliana and then dictated to a copyist; his vocal output is primarily of larger works for soloist with orchestra. Of his limited choral work, this is the best by far.

The sad song unfolds like a Renaissance motet, which is appropriate, since the tune on which it is based is indeed cagniano the Spanish Renaissance.

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Composers around would routinely write polyphonic treatments of popular single-line melodies. Lilliana evokes that earlier practice here, with voices imitating one another in different ranges; his control of the four voice parts is not only admirable technically but also deeply expressive emotionally. Bagpipes and drums are often regarded as part of the Galician and Northern Provence style. In dance, the movement shows a bond to traditional waltz steps, and imitates elements of nature, as when heel movements replicate the flitting of birds.

It should be stressed that La Jota is danced throughout the country, and is included in celebrations and religious ceremonies. Likewise, it is enjoyed by the ordinary people as well as professional dancers who are intent with showcasing this beloved dance form in theatrical settings.

The music for this dance comes from the beloved cycle for solo voice and piano by Manuel de Falla, famously recorded by Victoria de los Angeles. Versions of the song have been collected at many locations in both Mexico and New Mexico. His lyrics always focus on the people and traditions of his country, including in this song the dance called the joropo. The tenor solo in this song represents the voice of the llaneros men of the plainscanyiano the choir parts imitate the instruments that play the joropo: His interdisciplinary work connects music to photography, sociology, literature, theatre, visual art, and more.

Miller and Pichardo established a strong mutual respect through that encounter—so much so that, during the summer and fall ofPichardo wrote this piece for Chicago a cappella upon receiving a government commission for a new piece for mixed chorus. The lilianx is taken from a longer poem by Octavio Paz. The emotion in the text is one of an almost transparent feeling of one on the threshold of death, and the spare musical texture reflects the sense of almost floating, suspended, between death and life.

We are honored to have been chosen to receive this musical gift and honored to have the opportunity to share it with you. He was the second voice and player of the tres a three-stringed guitar-like instrument in the duo Los Compadres.

They leapt to fame with the release of the Buena Vista Luliana Club album, the blockbuster release in which Ry Cooder championed the work of Cuban musicians. Chan Chan is the opening track on that album, an example of the Cuban son genre. The places in the song are four towns near each other on the east side of Cuba. The lyrics tell of a man, Chan Chan, and his lady, Juanica, who are building a house and go to the beach to get some sand.

Juanica shakes the sand in a sieve, and her cangianoo gets Chan Chan aroused. I dream of music.

I sometimes wake up with a melody in my head, I hear the instruments, all very clear. I look over the balcony and I see nobody, but I hear it as if it was played on the street.

I don’t know what it can be. One day I woke up hearing those four sensitive notes, I gave them a lyric inspired by a children’s tale from my childhood, Juanica y Chan Chan, and you see, now it’s sung everywhere. The rhythms are infectious, and it is said that almost everywhere in Latin America, people can identify this song by its first four chords. The references to sailors and captains come from Veracruz being a port city. He learned the words to La Bamba phonetically from his aunt.

The more recent cover of La Bamba by Los Lobos has given a new life to the song. Te quiero A poem by the beloved Uruguayan master Mario Benedetti finds musical life in this setting by Alberto Favero, a popular-music composer from Argentina. This choral arrangement, like Kasar mie la gajiis an international best-seller in the choral world, regularly appearing on repertoire lists for festivals and contests.