A concert of solo piano music of Latin America, including works by composers from Venezuela, Uruguay, Mexico and Brazil. Two of the works intentionally draw from the musical traditions of their composers’ countries. Venezuelan composer Modesta Bor’s Suite Criolla showcases the typical rhythms of Venezuela and the Caribbean coast, with alternating triplets and duplets and shifts between 2/4 and 6/8 time. Heitor Villa-Lobos’ four movement Ciclo Brasileiro depicts musical scenes of Brazil, opening with a languid “Planting Song,” followed by “Serenade Impression” (actually a waltz), “Backwoods Party” (filled with driving syncopations), and closing with “Dance of the White Indian” (a rousing toccata-like movement). Federico Ibarra’s Second Sonata includes no specifically Mexican elements, something he consciously avoided as a composer. Instead, he sought to create a unique, personal musical language that would be fresh and immediate, speaking to its audience in a way that is both accessible and nonderivative at the same time, and this piece is an early example of his success. Ibarra’s student, Arturo Marquez, did not share his teacher’s avoidance of national styles, as revealed by his Danzon no 2, one of the rare modern works to enter the standard symphonic repertory. Marquez’ Días de Mar y Rio, featured in this concert, is a rhapsodic tone poem, based on Caribbean rhythms and melodic styles. Uruguayan composer Miguel del Aguila’s Second Sonata is not consciously Uruguayan, but does focus on rhythm, like much Latin American music. It features outer movements with driving asymmetric patterns (11/16, and the like) framing a gorgeous slow movement in a jazzy blues style.
General $16.50, Seniors UNM employees $11.50, Students $5.00
