XV delivery in the Digital Room of the Cuenca Symphony Orchestra

And we have reached the XV installment in the Digital Concert Hall of the Cuenca Symphony Orchestra on its YouTube channel: https://www.youtube.com/user/sinfonicacuenca and on Facebook: https://www.facebook.com/ sinfonicacuenca this Friday, June 12 at 8 PM. Concert recorded at the Carlos Cueva Tamariz theater on Friday, October 18, 2019. The repertoire includes: Chacona en Mi Menor BuxWV 160 by Dietrich Buxtehude, Arrangement by Carlos Chávez, Symphony No. 40 in G minor, K. 550 by Wolfgang Amadeus Mozart and Death and Transfiguration, Symphonic Poem op. 24 by Richard Strauss.

Chacona in E Minor BuxWV 160, (Arrangement of Carlos Chávez). Dietrich Buxtehude. La Chacona is an instrumental form from the Baroque period, a slow dance with a ternary compass and is written on a basso ostinato. Originally composed for the organ, it became an orchestral piece thanks to the arrangements that the great Mexican composer Carlos Chávez made in 1937. Like Leopold Stokowski, Chávez conducts the romantic style orchestration of the German organist’s composition, demonstrating his interest in baroque music and his eagerness to attract new listeners to the music of the past.

Symphony No. 40 in G minor, K. 550. Wolfgang Amadeus Mozart. Mozart wrote his last three symphonies in the incredibly short two-month summer period of 1788, with no commission or payment for these works. Why, then, did he write them? Mystery surrounds the creation of this music to date. This symphony has been the subject of the most emotional and extravagant criticism throughout its more than two hundred years of existence. Alfred Einstein found the symphony “fatalistic”, Berlioz observed its “grace, delicacy, melodic charm and beauty of workmanship”; Schumann found in her “Greek lightness and grace”; Wagner considered her “exuberant with outburst.” Whether the listener is more aware of the tragic character of the symphony or the comforting elements, the resulting impact is always unique, original, and overwhelming.

Death and Transfiguration, Symphonic Poem op. 24. Richard Strauss. Composed in Munich, Germany, between 1888 and 1889, when Richard Strauss was 25 years old. It is firmly rooted in the characteristic style that the father of the symphonic poem, Franz Liszt, imposed in his great sound frescoes. The theme addressed by Strauss was dictated by the profound influence exerted on him by Tristan and Isolde (whose representation he witnessed at Bologna in 1888) and Parsifal by Richard Wagner, exemplifications of Germanic mysticism. The literary idea of ​​the play carries within it the elements of the great drama; perhaps the greatest of all dramas: death and its meaning, what lies beyond it. Strauss Opus 24 confronts us with the victory of the human spirit over the inexorable death of the body.

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

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