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Rather, pertain to this last skill. Thus, the implicit reference symbols used by Guerau and himself for the mor- that Ruiz de Ribayaz makes to the New World in the dent, the trill and other ornaments. All this is reminiscent of the image of tros who teach these things. To this charge, several responses Hispanic America projected by Ribayaz in his pro- are given.

First, the world is large, and what is present in logue of , as a place where people usually played Madrid is not present everywhere. This author knows by by heart and only a few understood mensural nota- experience because he has seen different kingdoms and remote overseas provinces that elsewhere they do not know tion. Dios lo favorezca … 69 it is noteworthy that it occurs on a date so close to that on the cover of the manuscript What- Mr.

Gabriel Cano [de Aponte] is governing with great cor- rectness and is a very prudent man, of great patience and ever the case, this information demonstrates that very good intention, and not very ambitious, so that I am guitar books were sent to America. God Thus it is possible that the manuscript reached favour him … Chile in the 18th century and that it may even The noble to whom these letters were sent was have even been sent there by Murcia himself.

Clearly, it is not possible de Murcia. However, in this regard I have found to establish whether this link with the Franciscans a reference of potential interest.

Izumi Hall:Concerts by Izumi hall

On 4 August of Santiago was or was not related to the arrival of a Chilean friar who had just returned to the port CSG in Chile, though it is not impossible, given that of Buenos Aires from Spain wrote a letter to a they cultivated the guitar assiduously. I hope you share my good fortune […] and that Mr. Baroque guitar music in Spain, 6 C. It must be noted that before 1 See E. Stein, Songs 18th century. Oxford, , pp.

Juan Cabanilles

Russell, i, pp. Lislevand dir. Now, somehow, it has lost P. Hall, The guitar history London, , p. See also anthologies of Santiago de Murcia, pp. PhD diss. Sparks, The guitar and its pp. Russell and A. Urbana, , i, pp. For this hereafter E-Mah , Diversos- research, whose purpose is not to 12 Through a detailed analysis of Colecciones, 45, N. Russell p. Resonancias, xviii , pp. At AER. In the transcription of the Carreras and M. Colecciones, 45, N. Romanillos Vega and M. Harris Diversos-Colecciones, 43, N.

Among makers of plucked and bowed musical Colecciones, 43, n.

Apartamento San Pascual 18 III en Orihuela (Apartment), Orihuela (Spain) Deals

Guijosa, Guadalajara, Spain, , 25 This position is recorded in the p. Some minor differences that pp. Andriani held it. On Ms.

Also see A. Torrente, explained in detail in the bibliography treatise are described in J. Granada, , pp. Hall, The guitar anthologies, i, p. Indias de Sevilla: notas para el but see note Russell, ii, p. Share this event.


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    Toledo and Aral Baisakalov. After having been first violinist for several years at the "Orquesta Nacional de Cuba", she presently is first violinist at the Orquesta de Cordoba and regulary performs in different ensembles for chamber music. The observant listener will even notice the deliberate use of a series of elements which, although typical of violin and guitar technique, are not in the best of taste, but which are here employed — from time to time — almost in homage to kitsch. It is best to be prepared for irony and farce, or perhaps the opposite. The orchestra plays in a style reminiscent of Vivaldi, while the soloists carry out their exercises in the style of Paganini.

    Throughout the concerto, I have tried to make the maximum use of the wide palette of guitar timbre. In the first movement — Toccata — it is the dynamic and rhythmic aspects of the soloists that take center stage, supported by the percussion, and incorporating not only elements of Afro-Brazilian rhythms but also some of the typical Brazilian bossa nova rhythms. In the second movement — Sonares — the accent is on the beauty of sound and the expressive capacities of the solo guitar. Modal scales and typical instrumental patterns, borrowed from popular music of the northeastern region of Brazil, are featured in this movement.

    They are treated within a contemplative context, in free time and as if improvised, punctuated by minimalist figures or clusters of string songs, thus creating a sort of sound journey suspended in space. In the final movement — Volatas — I have called on the extreme dextrous ability of the guitar which is able to perform passages of vertiginous velocity that none the less remain precise and clear.

    The vertiginous rhythms eventually take over, leading to the conclusion.