LAMC Lectures

Permanent link for this collectionhttps://hdl.handle.net/2022/17294

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    Tradition and Innovation: Piano Variations in Latin America
    (Latin American Music Center, 2014-03-13) Capparelli Gerling, Cristina
    Variation processes and variation techniques found in single and/or collected works designated as Dances, Etudes and Toccatas as well as works titled as Theme and Variations proper are presented in order to illustrate compositional and instrumental techniques practiced throughout Latin American mainly but not exclusively by Argentinean, Brazilian and Chilean composers as they manipulate original or appropriated themes.
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    Brazilian Piano Sonatas: A Heated Debate during the Cold War
    (Latin American Music Center, 2014-02-18) Capparelli Gerling, Cristina
    The “Piano Sonata” lecture demonstrates and discusses both the persistence of neoclassical formal paradigms as well as the diversity of compositional and instrumental approaches utilized in Latin American Piano Sonatas during the twentieth century, such as found in the works of Argentineans José María Castro, Alberto Ginastera, Carlos Guastavino and Roberto G. Morillo; Brazilians Lorenzo Fernândez, Francisco Mignone, Camargo Guarnieri, Claudio Santoro, Edino Krieger, Breno Blauth, Esther Scliar and Marlos Nobre; the Chilean Juan Orrego-Salas; the Mexicans Rodolfo Halffter and Carlos R. Chávez. This lecture introduces a crucial topic of discussion: influences, confluences, dialogues and appropriations of models as practiced by Latin American composers in relation to their American and European counterparts.
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    The Piano Sonatina in Latin America: A Musical Dialogue
    (Latin American Music Center, 2014-01-21) Capparelli Gerling, Cristina
    The “Piano Sonatinas” lecture demonstrates and discusses concepts related to the various aspects of Latin American musical production for the piano such as the experimental, the intimate, the domestic, the miniaturized, and at a times the instructional. All of these aspects fit elegantly and effortlessly within neoclassical formal paradigms as shown in the works of Latin American composers Juan Bautista Plaza (Venezuela); Héctor Tosar (Uruguay); Roque Cordero (Panamá); Luis A. Escobar (Colombia), R. A. Amengual (Chile) as well as a host of composers from Brazil and Argentina. The sheer number of Sonatinas composed last century is in itself a mark of the variety of approaches and the richness of this repertoire.