Bach and Tchaikovski to the digital room of the Cuenca Symphony Orchestra
The concert directed by Michael Meissner, Principal Director, with the participation of the prominent flutist from the ranks of the OSC, Paola Zambrano Loayza, which took place on Friday, January 29, at the Casa de la Cultura theater, went up to our Digital Room of Concerts on YouTube https://www.youtube.com/user/sinfonicacuenca this Saturday, February 6 from 8 PM.
The repertoire includes: Suite N° 2 BWV 1067 by Johann Sebastian Bach and Serenade for Strings in C Major, Op.48 by Pyotr Ilyich Tchaikovski.
Orchestral Suite No. 2 in B minor, BWV 1067 by Johann Sebastian Bach. The Suite in B minor opens with an Ouverture, a French label indicating the underlying inspiration for the movement. The combination of a slow, low opening and the consequent Allegro fugato ultimately originated in the French overtures of Jean-Baptiste Lully (1632-87), who used them for the preface to his operas and ballets. Six shorter movements follow, all of them dances, each with a different character. Like the Ouverture, several of them have French origin, such as the Rondeau, or the Bourée and the Menuet, fashionable dances at the court of Louis XIV. The Sarabanda, a slow, ceremonial dance, is of Spanish origin. The Polonaise, derived from a Polish folk dance, was the preserve of German composers – it was also Telemann’s favorite in his orchestral suites. The suite closes with the Badinerie — along with the Aire from Suite No. 3 of his, one of Bach’s greatest orchestral hits — a short, high-spirited movement and a true virtuoso requirement for the flute.
Serenade for Strings in C Major, Op. 48. Tchaikovsky considered the Serenade as one of his best works, the author said about it: “I wrote it from inner compulsion. This is a composition from the heart, and for that reason, I dare to hope that this work does not lack artistic qualities. “The first movement, Pezzo in forma di sonatina, is topped by a choir marked Andante non troppo. The sonatina suggested in the title begins on the Allegro moderato, taking the form of a concise sonata structure. “The first movement is my homage to Mozart,” wrote Tchaikovsky. “It is intended to be an imitation of his style, and I would love it if you thought me I have approached his model. “The following Waltz goes back to Mozart’s minuets. It seems sensible that Tchaikovsky integrated the waltz, the most typical dance of the 19th century, in his symphonies and in the String Serenade. It is not surprising that this Waltz is more reminiscent of Tchaikovsky’s balletic and symphonic waltzes than those of Johann Strauss. The third movement, Elegia, opens with another choral passage, here, which incessantly aspires to rise above its mezza-voce tessitura. A second theme s e rises above arpeggiated pizzicato figures on the low strings. The dark and desperate atmosphere that characterizes the last three symphonies of the composer dominates much of the mood of this movement. The fourth movement, Finale on a Russian theme, opens with an Andante introduction based on a Russian folk song, a “drag song” from the Volga. Both the main theme of the following Allegro con spirito, based on the shape of the Serenade’s opening chorale, and the chorale itself, which is the final gesture of the movement, provide a sense of unity that encompasses the entire work.
Paola Zambrano Loayza -Flautist
He began studies at the “Antonio de Jesús Hidalgo” School of Music in the city of Piñas, obtaining a bachelor’s degree in Music. She receives classes with teachers Flavio Nieves, Alejandro Fuertes, Fabricio Toro, Guido Paccha. Member of the Children-Youth Band “Edgar Palacios” of the Municipality of Piñas, current Symphony Orchestra of the Municipality of Piñas, with which he attends training in the city of Quito where he receives classes with prominent members of the Band of the Provincial Council of Pichincha. From 2003 to date, she is a member of the Cuenca Symphony Orchestra, having received academic support from the maestro Miguel Jiménez Cueva, Hëyke Spaethe (Germany) at the From-A Music Academy. She obtained a Bachelor’s degree as a teacher-instrumentalist, specializing in the flute flute at the Technical University of Manabí. She has received classes with teachers Leonardo León, Jamil Erazo, teachers Sandra Fernández (Ecuador), María Gabriela Rodríguez (Venezuela). She attended the flute festivals “Mitad del Mundo” and “Perla del Pacífico” in 2015, and in the virtual edition 2020.
We invite the public to visit the Digital Concert Hall on YouTube https://www.youtube.com/user/sinfonicacuenca in which so far we have 42 concerts for all tastes and they can enjoy and share them from anywhere on the planet to the time and the times you want.
Find us at http://www.sinfonicacuenca.gob.ec Facebook, Twitter, Insta
The concert directed by Michael Meissner, Principal Director, with the participation of the prominent flutist from the ranks of the OSC, Paola Zambrano Loayza, which took place on Friday, January 29, at the Casa de la Cultura theater, went up to our Digital Room of Concerts on YouTube https://www.youtube.com/user/sinfonicacuenca this Saturday, February 6 from 8 PM.
The repertoire includes: Suite N° 2 BWV 1067 by Johann Sebastian Bach and Serenade for Strings in C Major, Op.48 by Pyotr Ilyich Tchaikovski.
Orchestral Suite No. 2 in B minor, BWV 1067 by Johann Sebastian Bach. The Suite in B minor opens with an Ouverture, a French label indicating the underlying inspiration for the movement. The combination of a slow, low opening and the consequent Allegro fugato ultimately originated in the French overtures of Jean-Baptiste Lully (1632-87), who used them for the preface to his operas and ballets. Six shorter movements follow, all of them dances, each with a different character. Like the Ouverture, several of them have French origin, such as the Rondeau, or the Bourée and the Menuet, fashionable dances at the court of Louis XIV. The Sarabanda, a slow, ceremonial dance, is of Spanish origin. The Polonaise, derived from a Polish folk dance, was the preserve of German composers – it was also Telemann’s favorite in his orchestral suites. The suite closes with the Badinerie — along with the Aire from Suite No. 3 of his, one of Bach’s greatest orchestral hits — a short, high-spirited movement and a true virtuoso requirement for the flute.
Serenade for Strings in C Major, Op. 48. Tchaikovsky considered the Serenade as one of his best works, the author said about it: “I wrote it from inner compulsion. This is a composition from the heart, and for that reason, I dare to hope that this work does not lack artistic qualities. “The first movement, Pezzo in forma di sonatina, is topped by a choir marked Andante non troppo. The sonatina suggested in the title begins on the Allegro moderato, taking the form of a concise sonata structure. “The first movement is my homage to Mozart,” wrote Tchaikovsky. “It is intended to be an imitation of his style, and I would love it if you thought me I have approached his model. “The following Waltz goes back to Mozart’s minuets. It seems sensible that Tchaikovsky integrated the waltz, the most typical dance of the 19th century, in his symphonies and in the String Serenade. It is not surprising that this Waltz is more reminiscent of Tchaikovsky’s balletic and symphonic waltzes than those of Johann Strauss. The third movement, Elegia, opens with another choral passage, here, which incessantly aspires to rise above its mezza-voce tessitura. A second theme s e rises above arpeggiated pizzicato figures on the low strings. The dark and desperate atmosphere that characterizes the last three symphonies of the composer dominates much of the mood of this movement. The fourth movement, Finale on a Russian theme, opens with an Andante introduction based on a Russian folk song, a “drag song” from the Volga. Both the main theme of the following Allegro con spirito, based on the shape of the Serenade’s opening chorale, and the chorale itself, which is the final gesture of the movement, provide a sense of unity that encompasses the entire work.
Paola Zambrano Loayza -Flautist
He began studies at the “Antonio de Jesús Hidalgo” School of Music in the city of Piñas, obtaining a bachelor’s degree in Music. She receives classes with teachers Flavio Nieves, Alejandro Fuertes, Fabricio Toro, Guido Paccha. Member of the Children-Youth Band “Edgar Palacios” of the Municipality of Piñas, current Symphony Orchestra of the Municipality of Piñas, with which he attends training in the city of Quito where he receives classes with prominent members of the Band of the Provincial Council of Pichincha. From 2003 to date, she is a member of the Cuenca Symphony Orchestra, having received academic support from the maestro Miguel Jiménez Cueva, Hëyke Spaethe (Germany) at the From-A Music Academy. She obtained a Bachelor’s degree as a teacher-instrumentalist, specializing in the flute flute at the Technical University of Manabí. She has received classes with teachers Leonardo León, Jamil Erazo, teachers Sandra Fernández (Ecuador), María Gabriela Rodríguez (Venezuela). She attended the flute festivals “Mitad del Mundo” and “Perla del Pacífico” in 2015, and in the virtual edition 2020.
We invite the public to visit the Digital Concert Hall on YouTube https://www.youtube.com/user/sinfonicacuenca in which so far we have 42 concerts for all tastes and they can enjoy and share them from anywhere on the planet to the time and the times you want.
Find us at http://www.sinfonicacuenca.gob.ec Facebook, Twitter, Insta
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