CINCO CANCIONES NEGRAS MONTSALVATGE PDF

Skip to main content. Henderson, A. After the Spanish Civil War left Spain in ruins, Catalan composer Xavier Montsalvatge turned his attention towards the Caribbean for his first venture into vocal music. This thesis examines how Xavier Montsalvatge interpreted suppressed voices of Spanish colonial minorities through his song cycle.

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Skip to main content. Henderson, A. After the Spanish Civil War left Spain in ruins, Catalan composer Xavier Montsalvatge turned his attention towards the Caribbean for his first venture into vocal music. This thesis examines how Xavier Montsalvatge interpreted suppressed voices of Spanish colonial minorities through his song cycle.

Each song interprets the Black experience in its own way, but three elements create unity among the five songs. First, all five poems address themes of identity in terms of race and ethnicity, and gender. Second, resisting the Wagnerian preferences of his teachers, Montsalvatge created a musical style of antillanismo, combining Cuban dance rhythms, Spanish vocal styles, and indigenous Afro-Cuban musical forms. Third, the opening song recalls an old Spanish folk melody, setting up for the rest of the cycle to be understood as quoted music.

In this way, Montsalvatge creates a persona who becomes the narrator through the entire cycle. The persona, combined with Montsalvatge's carefully researched and developed antillanismo sound, give Cinco canciones negras a poetic unity that sends a powerful message about identity and oppression in Cuba. A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music.

Cinco canciones negras, Cuba, Guillen, Montsalvatge, race, Spain.

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Canciones negras (5) for voice & piano (or orchestra)

In this, his most often-performed song cycle, Montsalvatge found inspiration not in his native Catalonia, but in the music of the West Indies, across which he draped only a thin veil of Spanish style. The set's first song is its longest: "Cuba dentro de un piano" Cuba on a Keyboard , setting a poem by Rafael Alberti. The languorous, lyrical habanera is a nostalgic evocation of when "the Bay of Cadiz was paradise" and "the Cuban spell was among the reeds and marshes of my land. Montsalvatge 's music is gentle and playful, again ending with ironic little dissonances. The vocal line is soothing, but the accompaniment provides an unsettling, Milhaud -like polytonal reminder that this is not a conventional, innocent lullaby.

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He was one of the most influential music figures in Catalan music during the latter half of the 20th century. Montsalvatge was born in Girona , and studied violin and composition at the Barcelona Conservatory. After the Spanish Civil War , Montsalvatge began work as a music critic when he joined the weekly Destino in , a publication he would eventually direct in and He wrote additionally for the daily La Vanguardia after Montsalvatge also returned to teach at his alma mater, becoming a lecturer in , and then a professor of composition in

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