The Cuenca Symphony Orchestra

This week, the third chapter of the cycle “Beethoven-Salgado” in the Digital Room of the Cuenca Symphony Orchestra

In July 2020, the “Beethoven-Salgado” cycle takes over the Digital Room of the Cuenca Symphony Orchestra to commemorate the 250th birthday of Ludwig van Beethoven (Germany, 1770-1827), combining this tribute with the works of Luis Humberto Salgado, one of the greatest Ecuadorian composers, known to Maestro Michael Meissner as the Ecuadorian Beethoven. Find us on the YouTube channel https://www.youtube.com/user/sinfonicacuenca and on Facebook https://www.facebook.com/sinfonicacuenca on Friday July 24 at 20:00, we will upload the recorded concert on Friday, February 14, 2020 at the Pumapungo theater. The repertoire includes: Symphony No. 3 (In Rococo style) by Luis Humberto Salgado and Symphony No. 3 in E Flat Major, op.55, Heroica by Ludwig van Beethoven

Symphony No. 3 (in Rococo style). Luis Humberto Salgado. Symphony No. 3. (A_D_H_G_E in D Major on a pentaphonic series in Rococo style). Luis Humberto Salgado. The unusual title of this symphony reveals its technique – the themes of each movement are built with the 5 specified notes – and its style: Rococo, typical of the 18th century, with Mozart as its greatest exponent. The orchestration, however, considers a large orchestra, non-existent in those times, including the complete brass section, various percussions, harpsichord, harp, celesta, bells and timbres (Glockenspiel), which causes the feeling of a style exported to others. times, as did other admirers of the past such as Stravinski, Respighi and Hindemith, among many others. Since the four movements are oriented in dance models of Rococo and Baroque, their perception is relatively easy, the mayor delegates to the listener is to distinguish between traditional moments and their modern “exaggerations”, by extravagant instrumentation. In this symphony, Salgado dispenses with merging Andean elements with modernism, but rather presents a stylistic and instrumentation exercise, an almost ironic example of his perfect command of any compositional challenge. (Michael Meissner, June 2019)

Symphony No. 3 in E Flat Major, op.55, Heroic. Ludwig van Beethoven. Beethoven’s third symphony represented a before and after in the author’s compositional evolution, in it he points out new and unexplored paths up to that moment in musical composition. It was for the author his favorite symphony. The musical revolution that it supposed and all the literature that has reached its original dedication turned it into a very special work. It was written between 1803 and 1804, the famous episode of “Heiligenstadt’s will” had already taken place in his life, where the idea of ​​suicide was even interviewed after becoming evident and irreversible, the deafness that tormented him for the rest of his life. The first public performance took place on April 7, 1805 in Vienna, directed by the author himself. Richard Wagner said of the play: “We know Beethoven’s musical language was powerful enough to express the inexpressible, which would be impossible to translate with words.”

With this installment there will be 21 digital concerts that the public can enjoy and share from anywhere on the planet at the time and times that you want in the Digital Room of the Cuenca Symphony Orchestra.

Find us at http://www.sinfonicacuenca.gob.ec Facebook, Twitter, Instagram

Share on facebook
Share on twitter
Share on linkedin
Share on whatsapp
Share on print
Edit or Report



Request a renewal

Back to top