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The Rodriguez-Castillo (leak-samba)

part for string trio, written in 2001 and dedicated to my former master and always friend, Oscar. Fernando Subelza (violin), Adrian Felizia (viola), Gloria Pankáeva (cello) is interpreted in 2003. Trident Recording Studio (Enrique Albarracin)

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Brief

Elliphtical Dished End Development Calculation

Santiago! Small Suite Trasandina

Composition for piano based on life experience (1997)

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Brief explanation Small

Trasandina Suite, originally filed with the inappropriate title of Small Trasandina Symphony, was composed and premiered in 2003 to mark the opening of the Youth Sport Games Trasandina (JUDEJUT), in the city of Salta, Argentina. For that occasion Morillo Alejandro Bermudez, Colombian friend strongly devoted to the theory and music critic, wrote a few words here today I share with my readers, like a recording of the composition in a hurry and almost no version trial by very good friends.

About Small Symphony Trasandina Pablo Herrera (by A. Bermudez-Morillo)

This symphonic piece twenty-minute premieres today Salta composer Pablo Herrera invites us to undertake a journey, a journey that largely determines to musical aesthetics of the work, and that travel involves moving, changing place, and this in turn means changing the perspective of the listener, sensing a moment to another melody, a harmony or a different gender, the author creates a fictional musical from this principle of physical movement across roads, imaginary or not, resulting in a polyphonic discourse and towards the end as well, polyrhythmic. And like many Sometimes it happens when we walk down a street full of shops, also in Little Symphony ... at times, abrupt jumps occur or overlap stylistic sound seemingly irreconcilable worlds. As an example of this phenomenon that we observed not only in this piece, but throughout the work of Herrera, we can cite here the brief moment that seems to hear a samba Salta interfered with by a tune that could well come from a radio ... Striking

in length and internal development is the passage in which, by the ropes, you can hear two songs from The Magic Flute Mozart-opera semantics as it revolves around the idea of \u200b\u200bbrotherhood among human beings, capable of coexisting with rhythms and melodies originating from the Rio de la Plata, but that over time all of us knew how to be (I speak also as a lover of all Colombian Latin American music). Regard as important information for the listener to play in the construction of meaning, that one of those melodies porteñas also Herrera's hand, could harmonize perfectly with a drawing newt own mountain ridges such as the baguala .. .

polyrhythm and polyphony

the end, followed by forceful unison with which ends the piece does not do more than make us think in one word: unity.

Morillo Alejandro Bermudez

Doctor of Musical Arts

Recording


I-Prologue
waynu Fiesta II-III-
Baguala All Terrain
Tango Magic IV-V-Scherzo
West I-VI
West II Scherzo
VII-III West Scherzo
Baroque Carol VIII-IX-
Canon Relative Error and Cumbia X-barbecue
Salteño with Bombo and
Radio Recap
XI-XII-Final
XIII-Epilogue Credits


Address: Pablo Herrera.
Cast: Nicolas Atámpiz, Fernando Subelza (violin), Adrian Felizia (violas), Gloria Pankáeva (cellos), Javier Becerra-Rhodes (Bass), Ruben Albano (trumpets), Gaston Frosio (horns), Mariana Larrosa (trombones) Eduardo Lamas (tuba), Martín Bonilla (percussion), Tony Izkierdo (percussion).
Sound Engineer: Peter Alurralde.