{"id":8161,"date":"2022-03-04T12:41:55","date_gmt":"2022-03-04T18:41:55","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_prod_season&#038;p=8161"},"modified":"2022-10-18T10:13:03","modified_gmt":"2022-10-18T15:13:03","slug":"ravel-debussy","status":"publish","type":"dso_prod_season","link":"https:\/\/www.dallassymphony.org\/es\/productions\/ravel-debussy\/","title":{"rendered":"Haydn, Ravel y Debussy"},"content":{"rendered":"\n\n\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t\n\n<p><strong>JUANJO MENA<\/strong> conducts<br><strong>JAVIER PERIANES<\/strong> piano<\/p>\n\n\n\n<p><strong>HAYDN<\/strong> Symphony No. 44 in E minor (&#8220;Trauer-Symphonie&#8221;)<br><strong>RAVEL <\/strong>Concerto in G major for Piano and Orchestra<br><strong>GINASTERA<\/strong> Variaciones Concertantes<br><strong>DEBUSSY<\/strong> &#8220;Ib\u00e9ria&#8221;, No. 2 from <em>Images<\/em><\/p>\n\n\n\n<p>Two of Spain\u2019s most beloved exports \u2013 distinguished conductor Juanjo Mena and pianist Javier Perianes \u2013 take the stage to celebrate Spanish and Latin contributions to classical music. Haydn\u2019s highly dramatic \u201cTrauer Symphony\u201d opens the program followed by Ravel\u2019s Concerto in G with jazz and Basque folk music influences. Then, Alberto Ginastera, one of the most innovative Latin composers of the 20th century, amplifies the voice of Argentinian folk music in Variaciones Concertantes. Followed by Debussy\u2019s \u201cIb\u00e9ria\u201d which clearly invokes the Spanish fascination that became so popular in late 19th century France.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png\" alt=\"\" class=\"wp-image-5688\" width=\"256\" height=\"42\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-300x48.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-768x124.png 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-16x3.png 16w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_.png 1528w\" sizes=\"auto, (max-width: 256px) 100vw, 256px\" \/><\/figure>\n\n\n<div class=\"container\">\n    <div class=\"row\">\n        <div class=\"col-10\">\n            <div class=\"share d-flex align-items-center\">\n                <p class=\"mb-0 serif__light-16\">SHARE<\/p><div data-network=\"facebook\" class=\"st-custom-button facebook\" data-title=&quot;Haydn, Ravel &#038; Debussy&quot;  data-description=&quot;Two of Spain\u2019s most beloved exports \u2013 distinguished conductor Juanjo Mena and soloist Javier Perianes \u2013 take the stage to celebrate Spanish and Latin contributions to classical music.&quot;  data-message=&quot;Two of Spain\u2019s most beloved exports \u2013 distinguished conductor Juanjo Mena and soloist Javier Perianes \u2013 take the stage to celebrate Spanish and Latin contributions to classical music.\r\n\r\nhttps:\/\/www.dallassymphony.org\/es\/productions\/ravel-debussy\/&quot; >Facebook<span class=\"count\"><\/span><\/div>            <\/div>\n        <\/div>\n    <\/div>\n\n<\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n<div class=\"edp-musician-grid m-spacer grad-to-right\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-12\">\n\t\t\t\t<h1><\/h1>\n\t\t\t\t<h2><\/h2>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"Juanjo Mena\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Juanjo-Mena.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Juanjo Mena<\/h4>\n\n\t\t\t<p>Conductor<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/juanjo-mena\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div><div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-1536x1536.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-400x400.jpg 400w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Javier-Perianes_038_credits-to-Marco-Borggreve-e1740683919926-600x600.jpg 600w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Javier Perianes<\/h4>\n\n\t\t\t<p>Piano<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/javier-perianes\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div>\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<div class=\"dso__accordion m-spacer\">\n    <div class=\"container\">\n        <div class=\"row\">\n            <div class=\"col-lg-12\">\n                <div class=\"accordion__intro-wrapper\">\n                    <h1>Program Notes<\/h1>\n                    <p>by Ren\u00e9 Spencer Saller<\/p>\n                <\/div>\n            <\/div>\n        <\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10 offset-md-1\">\n\t\t\t\t<div class=\"accordion\" id=\"accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t\t\t\t<div class=\"card\">\n\t<button id=\"heading9534f724717a649a600597ffb547c4e7\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse9534f724717a649a600597ffb547c4e7\" aria-expanded=\"false\" aria-controls=\"collapse9534f724717a649a600597ffb547c4e7\">\n\t\tJoseph Haydn (1732\u20131809): Symphony No. 44 in E Minor, &#8220;Trauer&#8221; (&#8220;Mourning&#8221;)\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse9534f724717a649a600597ffb547c4e7\" class=\"collapse\" aria-labelledby=\"heading9534f724717a649a600597ffb547c4e7\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>The son of a wheelwright and a cook, Haydn distinguished himself early as a boy<br \/>\nsoprano, endowed with a savant&#8217;s musical memory. He sang with the world-class<br \/>\nchoir of St. Stephen&#8217;s Cathedral in Vienna until 1749, when his voice changed and<br \/>\nforced him into a new career. For the next few years, he cobbled together a living as<br \/>\na part-time teacher and freelance musician, sometimes even busking in the streets<br \/>\nfor strangers&#8217; spare coins.<\/p>\n<p>At age 25 his luck changed, after he was hired by the Bohemian nobleman and music<br \/>\npatron Count Morzin. During the three or so years that Haydn served as the count&#8217;s<br \/>\nmusic director and court composer, he finished his first 15 symphonies as well as an<br \/>\nimpressive array of chamber music, serenades, and divertissements.<\/p>\n<p>In 1761 Haydn, who had recently married, accepted a job offer from Prince Paul<br \/>\nAnton Esterh\u00e1zy. Although the Prince died the following year, Haydn got along even<br \/>\nbetter with his brother and successor, Nicolaus, who immediately endeared himself<br \/>\nby proposing a higher salary. Haydn would work for the Esterh\u00e1zy court for nearly<br \/>\nthree decades, during which time he produced a staggering amount of music: 50<br \/>\nquartets; 45 keyboard sonatas; a sizeable assortment of Italian operas and<br \/>\nsingspiels for the marionette theater that the family maintained; and, because the<br \/>\nPrince played the baryton, a stringed, fretted instrument that resembles the viola<br \/>\nd&#8217;amore, at least 126 baryton trios.<\/p>\n<p>Haydn also composed some 80 symphonies, maturing as an orchestrator and finding<br \/>\nnew ways to whet his wild imagination. The E minor Symphony is one of seven<br \/>\nminor key symphonies that he wrote between 1767 and 1773. By 1771 or so,<br \/>\naround the time of its composition (the precise date of which is unknown), he had<br \/>\ndeveloped a compositional style that was later (anachronistically) called Sturm und<br \/>\nDrang (Storm and Stress), after a literary movement that emerged in the late 19th<br \/>\ncentury. Labels and categories notwithstanding, Haydn&#8217;s brilliantly executed, proto-<br \/>\nRomantic approach valued originality, vigor, and passion over elegance, balance,<br \/>\nand restraint, the hallmarks of Classical music, at least as conventionally<br \/>\nunderstood.<\/p>\n<p>The nickname for Symphony No. 44, &#8220;Trauer&#8221; (&#8220;Mourning&#8221;), refers to a popular but<br \/>\nunsubstantiated account in which Haydn was said to have requested that the third<br \/>\nmovement of the symphony be played at his memorial service. At any rate, the<br \/>\nAdagio was not on the program for Haydn&#8217;s eventual funeral, which took place more<br \/>\nthan 30 years after the premiere of Symphony No. 44. But the symphony as a whole<br \/>\nwas performed soon after Haydn&#8217;s death, at a commemorative concert in Berlin,<br \/>\nand, perhaps for that reason, the &#8220;Trauer&#8221; nickname stuck.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nThe first of the four movements of &#8220;Trauer&#8221; is fierce, propulsive, full of contrasts.<br \/>\nMarked Allegro con brio, it is set in the home key of E minor. Although the<br \/>\nmovement follows sonata form and other Classical conventions, it makes some<br \/>\ndaring forays into dissonance, especially in its rigorously contrapuntal conclusion.<\/p>\n<p>The second movement, marked Allegretto, is a minuet, in E minor, and a trio, in E<br \/>\nMajor. Although the minuet-and-trio form is a standard feature of the Classical<br \/>\nsymphony, it usually occupies the third movement, not the second. Here Haydn<br \/>\nexperiments with the &#8220;Canone in diapason&#8221; procedure, guiding us on twisty<br \/>\npathways between the melody and bass line. In the minuet portion, the violins and<br \/>\nfirst oboe introduce the theme, and the second oboe, violas, and horns take it up at<br \/>\nthe octave. The central trio ascends to the radiant parallel mode of E Major, before<br \/>\nthe minuet returns, restoring the minor mode.<\/p>\n<p>Thanks to its tempo and instrumentation\u2014muted strings, murmuring oboes, and<br \/>\nsomber horns\u2014the overall mood of the Adagio is serene and spacious. Despite the<br \/>\nsymphony&#8217;s nickname, the slow movement isn&#8217;t at all funereal: you won&#8217;t hear a<br \/>\ntrace of a funeral march or a Requiem reference. It&#8217;s set in E Major, like the<br \/>\npreceding trio, and so surpassingly beautiful in places\u2014listen for the entrance of the<br \/>\noboes and horns\u2014that it ranks among Haydn&#8217;s most affecting masterpieces. More<br \/>\nthan mourning, this Adagio brings solace: it&#8217;s a balm, not a sermon.<\/p>\n<p>The dramatic finale, marked Presto alla breve, is urgent and relentless. Based on a<br \/>\nunison theme, the closing movement explores the outer limits of counterpoint,<br \/>\nculminating in a ferocious double canon. Haydn closes in E minor, the home key,<br \/>\ninstead of the expected parallel major.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"heading9924e436e7567bfd2d3db1244ded6f85\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse9924e436e7567bfd2d3db1244ded6f85\" aria-expanded=\"false\" aria-controls=\"collapse9924e436e7567bfd2d3db1244ded6f85\">\n\t\tMaurice Ravel (1875\u20131937): Concerto in G Major for Piano and Orchestra\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse9924e436e7567bfd2d3db1244ded6f85\" class=\"collapse\" aria-labelledby=\"heading9924e436e7567bfd2d3db1244ded6f85\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Between 1929 and 1931, Ravel worked simultaneously on two remarkable\u2014and<br \/>\nremarkably different\u2014piano concertos. One is dark and intense, written for the left<br \/>\nhand. Paul Wittgenstein, the Austrian pianist who commissioned it, lost his right<br \/>\narm in World War I. The other (two-handed) concerto, in G Major, is sprightly and<br \/>\nenergetic. Ravel, a gifted pianist, had intended it as a concert showpiece for himself.<br \/>\nUnfortunately, by the time it was finished, he was ailing and no longer had the<br \/>\nnecessary stamina. He asked the pianist Marguerite Long to give the premiere,<br \/>\nwhich he conducted on January 14, 1932.<\/p>\n<p>In 1931, as he was putting the finishing touches on the Piano Concerto in G, he<br \/>\nexplained that it was \u201cwritten very much in the same spirit as [concertos by] Mozart<br \/>\nand Saint-Sa\u00ebns.&#8221; &#8220;The music of a concerto should be lighthearted and brilliant, and<br \/>\nnot aim at profundity or at dramatic effects,&#8221; he continued. &#8220;It has been said of<br \/>\ncertain classics that their concertos were written not \u2018for\u2019 but \u2018against\u2019 the piano. I<br \/>\nheartily agree. I had intended to title this concerto \u2018Divertissement.\u2019 Then it<br \/>\noccurred to me that there was no need to do so because the title \u2018Concerto\u2019 should<br \/>\nbe sufficiently clear.\u201d<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nDespite its unusual features, the work is structured like a conventional Classical<br \/>\nconcerto, in three contrasting movements. In the hectic and humorous introduction,<br \/>\nthe piano traces delicate arpeggios while piccolo and trumpet interject saucy<br \/>\nretorts. A sultry clarinet evokes Gershwin&#8217;s <em>Rhapsody in Blue<\/em>, while the piano<br \/>\ncontributes jerky syncopated rhythms. After a magical harp-drenched interlude, the<br \/>\nbrash jazz themes return.<\/p>\n<p>The lustrous Adagio assai, the concerto&#8217;s Mozartian center, isn&#8217;t nearly as simple as<br \/>\nit sounds. As the pianist Long wrote, &#8220;I told Ravel one day how anxious I was, after<br \/>\nall the fantasy and brilliant orchestration of the first part, to be able to maintain the<br \/>\n<em>cantabile<\/em> of the melody on the piano alone during such a long, slow, flowing<br \/>\nphrase&#8230;. &#8216;That flowing phrase!&#8217; Ravel cried. &#8216;How I worked over it bar by bar! It<br \/>\nnearly killed me!&#8221;<\/p>\n<p>The finale is brief but complex, peppered with key changes and unusual orchestral<br \/>\ntextures, particularly from the trombone and bassoon. Spirited percussive flourishes<br \/>\nrecall the opening movement, and the concerto ends with a joyful bang.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"heading29d4ff6f37f2f1613a01134f987e7caf\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse29d4ff6f37f2f1613a01134f987e7caf\" aria-expanded=\"false\" aria-controls=\"collapse29d4ff6f37f2f1613a01134f987e7caf\">\n\t\tAlberto Ginastera (1916\u20131983): Variaciones concertantes\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse29d4ff6f37f2f1613a01134f987e7caf\" class=\"collapse\" aria-labelledby=\"heading29d4ff6f37f2f1613a01134f987e7caf\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Born in Buenos Aires to a Spanish father and an Italian mother, Ginastera (he<br \/>\npronounced it the Catalan way: JEE-na-STAIR-uh) began his conservatory training at<br \/>\nage 12. In 1942 he won a Guggenheim Foundation grant, which he used a few years<br \/>\nlater to study with Aaron Copland in the United States.<\/p>\n<p>Idealistic and outspoken, Ginastera made many political enemies in his native<br \/>\nArgentina. In 1952, a year before he wrote <em>Variaciones concertantes<\/em>, he lost his<br \/>\nposition at Argentina&#8217;s foremost music conservatory, Conservatorio de M\u00fasica y<br \/>\nArte Esc\u00e9nico in La Plata, which he had founded and directed since 1948. He<br \/>\noffended the Per\u00f3ns by refusing to rename the conservatory after Eva, the<br \/>\npresident&#8217;s powerful wife. Deprived of his academic post (at least until Juan Per\u00f3n<br \/>\nwas deposed in a military coup), Ginastera made ends meet by scoring films and<br \/>\naccepting random commissions. He spent the last dozen years of his life in Geneva,<br \/>\nSwitzerland.<\/p>\n<p>A meticulous craftsman, Ginastera tended to destroy any efforts that he deemed<br \/>\nunsatisfactory\u2014and he was seldom satisfied. What passed through his filter was<br \/>\npure gold. Although he left only 54 numbered opuses, most remain in the active<br \/>\nrepertoire.<\/p>\n<p><strong>Nationalism and Its Discontents<\/strong><br \/>\nLate in life, Ginastera categorized his works into three general periods, which he<br \/>\nidentified as follows: objective nationalist (1934\u20131948), subjective nationalist<br \/>\n(1948\u20131958) and neo-expressionist (1958\u20131983). He wrote <em>Variaciones<\/em><br \/>\n<em>concertantes<\/em> in 1953, at the midpoint of his middle period. Unlike his earlier music,<br \/>\nwhich often quoted from the folk tunes and dances of his homeland, in <em>Variaciones<\/em><br \/>\n<em>concertantes<\/em> all the &#8220;nationalist&#8221; signifiers are implied, not explicit. &#8220;This work has a<br \/>\nsubjective Argentinean character,&#8221; the composer explained. &#8220;Instead of employing<br \/>\nfolklore material, an Argentinean atmosphere is obtained by the use of original<br \/>\nmelodies and rhythms.&#8221;<\/p>\n<p>Ginastera&#8217;s <em>Variaciones concertantes<\/em> was a commission from the Asociaci\u00f3n Amigos<br \/>\nde la M\u00fasica in Buenos Aires. The orchestra of that organization, conducted by Igor<br \/>\nMarkevitch, gave the premiere on June 2, 1953. The work consists of two<br \/>\ninstrumental interludes (the first for strings, the second for winds), which serve as<br \/>\nmusical bookends for eight distinct and colorful variations.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nNearly every instrument in the orchestra gets its turn in the spotlight. Ginastera<br \/>\nassigns a different solo instrument, pairing, or group to each of the variations, which<br \/>\nrange in length from fleeting to substantial. Right away, in the slow and searing<br \/>\nintroduction, the harp and cello state the theme, which incorporates one of the<br \/>\ncomposer&#8217;s stylistic trademarks: the notes E\u2013A\u2013D\u2013G\u2013B\u2013E. These are, not<br \/>\ncoincidentally, the same pitches played on the open strings of a guitar in standard<br \/>\ntuning.<\/p>\n<p>After this murkily fecund strings interlude, the variations unfurl. The first, titled<br \/>\n&#8220;Variazione giocosa&#8221; (Humorous Variation), is a frisky, flute-dominated caper, with<br \/>\nscampering pizzicato strings. In the equally antic but somewhat edgier &#8220;Variazione<br \/>\nin modo di Scherzo&#8221; (Variation in the Style of a Scherzo), the clarinet instigates the<br \/>\norchestral high jinks.<\/p>\n<p>In the &#8220;Variazione drammatica&#8221; (Dramatic Variation), the viola sings a piercingly<br \/>\nemotive cadenza, attended by winds and low strings. The longest of the variations,<br \/>\nit&#8217;s a haunting exploration of modal harmony. Bassoon and oboe are in the forefront<br \/>\nfor the &#8220;Variazione canonica&#8221; (Canonical Variation), a questing and contemplative<br \/>\ntake on the theme. Trumpet and trombone carry the short but memorable<br \/>\n&#8220;Variazione ritmica&#8221; (Rhythmic Variation). In the &#8220;Variazione in modo di moto<br \/>\nperpetuo&#8221; (Variation in the Perpetual-Motion Mode), brass, winds, and timpani<br \/>\nprecede the violin&#8217;s turn in the soloist&#8217;s spot, another cadential movement that<br \/>\ninfuses virtuosic technique with folk-fueled pyrotechnics. Next, in the &#8220;Variazione<br \/>\npastorale&#8221; (Pastoral Variation), a lyrical and soulful French horn riffs on the theme<br \/>\nuntil it almost resembles a hunting call reimagined by Chet Baker.<\/p>\n<p>After an interlude for winds, the double-bass, lightly bolstered by spare harp<br \/>\narpeggios, reprises the main theme, as presented in the introduction. The zany final<br \/>\nvariation, &#8220;Variazione in modo di rondo&#8221; (Variation in the Rondo Mode), is a<br \/>\nnonstop endorphin rush, replete with hand-strummed chords, boldly syncopated<br \/>\npercussion, and jazzy Gershwinesque vamps. In addition to the rondo, an ancient<br \/>\ndance form alternating a refrain and contrasting episodes, Ginastera drew from the<br \/>\nmalambo tradition to create this variation, which uses repeated notes to imitate the<br \/>\ntapping, stomping, brushing feet of the dancing gauchos. Malambo, which one<br \/>\nscholar described as &#8220;a battle between men who stomp in turn to music,&#8221; retains its<br \/>\ncultural cachet. The National Malambo Festival is held every year in the Cordoba<br \/>\nProvince of Argentina.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"heading2504404cc199b60d25502c9e0223fe93\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse2504404cc199b60d25502c9e0223fe93\" aria-expanded=\"false\" aria-controls=\"collapse2504404cc199b60d25502c9e0223fe93\">\n\t\tClaude Debussy (1862\u20131918): &#8220;Iberia&#8221; from Images pour Orchestre\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse2504404cc199b60d25502c9e0223fe93\" class=\"collapse\" aria-labelledby=\"heading2504404cc199b60d25502c9e0223fe93\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>&#8220;Iberia&#8221; is the second of three cyclical works\u2014collectively titled <em>Images pour<\/em><br \/>\n<em>Orchestre<\/em>\u2014that Debussy composed between 1905 and 1912. The set was initially<br \/>\nplanned for two pianos, but Debussy decided that it required a richer palette<br \/>\ncontaining bolder and more diverse colors. With <em>Images<\/em>, he explained, &#8220;I&#8217;m trying to<br \/>\nwrite something else\u2014realities, in a manner of speaking\u2014what imbeciles call<br \/>\n&#8216;impressionism,&#8217; a term employed with the utmost inaccuracy, especially by art<br \/>\ncritics, who use it as a label to stick on Turner, the finest creator of mystery in the<br \/>\nwhole of art!&#8221;<\/p>\n<p><strong>Sketches of Spain<\/strong><br \/>\nA triptych within a triptych, &#8220;Iberia&#8221; is a three-part portrait of Spain. It features a<br \/>\nslower, more meditative middle movement surrounded by romping, celebratory<br \/>\nouter movements. Although &#8220;Iberia&#8221; abounds with Moorish-inflected melodies and<br \/>\nLatin-inspired rhythms, Debussy&#8217;s lived experience of the country was minimal: he<br \/>\nspent a single afternoon in San Sebastian, attending a bullfight, and returned home<br \/>\nto France before nightfall. According to the Spanish composer Manuel de Falla,<br \/>\nDebussy&#8217;s sole excursion to Spain, brief though it was, left him with a vivid<br \/>\nimpression of &#8220;the light in the bullring, particularly the violent contrast between the<br \/>\none half of the ring flooded with sunlight and the other half deep in shade.&#8221;<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nThe lively, light-splashed opening movement, &#8220;Par les rues et par les chemins&#8221;<br \/>\n(Through Streets and Lanes), combines tart dissonances, stomping rhythms, and<br \/>\nsparkling melodic digressions. Next, the mesmerizing nocturne &#8220;Les parfums de la<br \/>\nnuit&#8221; (The Fragrances of the Night) traces the elusive contours of a dream: blurry<br \/>\nharmonies, sinuous tempos, distant bells. Finally, &#8220;Le Matin d&#8217;un jour de f\u00eate&#8221;<br \/>\n(Morning of a Feast-Day) brims over with giddy revelry. &#8220;It sounds like music that<br \/>\nhas not been written down,&#8221; Debussy observed. &#8220;There is a watermelon vendor and<br \/>\nchildren whistling\u2014I see them all clearly!&#8221;<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n    <div class=\"featured-concerts grad-to-left m-spacer\">\n        <div class=\"container-fluid\">\n            <div class=\"row\">\n                <div class=\"col-md-7 col-7 offset-md-1\">\n                    <h1 class=\"serif__elight-58-italic\">You may also be interested in<\/h1>\n                <\/div>\n                <div class=\"col-md-4 col-5\">\n                    <div class=\"controls__wrapper\">\n                        <div class=\"slideshow__controls d-none d-lg-block\">\n                            <button class=\"controls__prev\"  data-button-id=\"6979c935788a2204cac9682653047cfa\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                            <button class=\"controls__next\" data-button-id=\"6979c935788a2204cac9682653047cfa\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                        <\/div>\n\n\t                                        <\/div>\n                <\/div>\n            <\/div>\n            <div class=\"row\">\n                <div class=\"col-md-11 offset-md-1\">\n                    <div class=\"slideshow\">\n                        <div class=\"dso__slides\" data-button-id=\"6979c935788a2204cac9682653047cfa\">\n                            <div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/?post_type=dso_prod_season&amp;p=8187\">\n        <div class=\"img__wrapper\">\n\t        <img loading=\"lazy\" decoding=\"async\" width=\"388\" height=\"218\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"Alsop Conducts Scheherazade\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-388x218.jpg 388w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-300x169.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-1024x576.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-768x432.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-1536x864.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-18x10.jpg 18w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-540x303.jpg 540w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-666x375.jpg 666w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13-735x413.jpg 735w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA13.jpg 1600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>        <\/div>\n        <div class=\"content__wrapper\">\n            <h4 class=\"serif__light-22\">\n                Alsop Conducts Scheherazade            <\/h4>\n            <p class=\"serif__light-16-italic\">febrero 23 &#8211; 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