As always, Martin and friends gives us Internet, and add to the blog your clubs, first class material.
Much of what comes, takes time and dedication, would be nice once in cuendo, not always say, "I leave a message to Martin and his people.
are not required, but ...
That enjoyment !!!!!
On this album you will find some surprises unpublished. The track 11,
for example, is a recording that, to my knowledge, no
reissued in any other disk. Probably comes from 78 rpm discs that Carlos Di Fulvio
recorded before their first LP.
Regards, Jose Luis
Atahualpa Yupanqui - AUTHOR
(stereo vinyl LP released in 1976, with recordings made between 1943 and
1969, Buenos Aires: EMI-ODEON Pampa 3020)
Side 1 (MAI-XLD 50,167)
01. Luna Tucumán (samba, A. Yupanqui) - by Julio Molina Cabral and
set - 3'27 (fig. 07/13/1956)
02. The poor (samba, A. Yupanqui) - by Enrique Espinosa and his group -
3'13 (fig. 12/05/1969)
03. Adios Tucuman (samba, A. Yupanqui) - by Duo Benítez-Pacheco - 3'18
(fig. 08/07/1947)
04. The axles of my cart (milonga, R. A. Yupanqui and Risso) - by Los Huanca Hua
- 2.58 (fig. 11/10/1961)
05. The Arribeños (samba, collect. And arrangement A. Yupanqui) - by
Duo Benítez-Pacheco - 3.14 (fig. 17/07/1944)
06. The horse (Song, A. Yupanqui) - by Julio Molina Cabral and
set - 3'21 (fig. 15/10/1954)
Side 2 (MAI-XLD 50,168)
07. Sorrel (Song, A. Yupanqui and P. del Cerro) - by Alberto Merlo - 3'35
(fig. 01/30/1962)
08. Cricket samba (samba, A. Yupanqui) - Duet by Ruiz-Gallo - 3'03
(fig. 23/01/1946)
09. Memories of Portezuelo (Song, A. Yupanqui) - by The Nocheros of
Anta - 4'12 (fig. 07/18/1968)
10. Are clearly (samba, A. Yupanqui and S. Paredes) - by
Duo Benítez-Pacheco - 3'00 (fig. 06/25/1943)
11. Chacarera of stones (chacarera, A. Yupanqui and P. del Cerro) - by Carlos Di Fulvio
- 2'14 (fig. 23/08/1957)
12. Indian Trail (Song, A. Yupanqui) - by Cristina and Hugo, with
orchestra - 3'00 (fig. 10/29/1969) Losing
here
8
BUENOS AIRES
BUENOS AIRES 8 is an Argentine vocal group makes its phonographic with this issue through its baptism a little unusual, modern "challenging" as it likes young people, is established that it is eight elements. What is not patented in that name (who preferred "8" to "Octet") is that it is in the presence of an entirely vocal, not instrumental, as it could make the program announced: formed almost entirely by
pages that meet our vernacular dancing forms, due to the pen or assimilated by native authors and right spirit, like the Basque Julián Aguirre.
As we mentioned a Basque, say 'Buenos Aires 8, "why in Vizcaya, a region so rich in popular vocal music, it is called" annatto ": that is, a group of eight voices together to cultivate singing. And when you think about an extension of that number, to transform it into a group vocal chamber music as the animated Pamplona Choir Murgiondo, the number rises to sixteen voices and the whole is popularly called, always among the Basques, a "double annatto. Is that the number eight seems to get a sense both as a practice in cabalistic exercise of vocal music. If the cello string quartet performs the functions of "low", the violation of a contralto with some wording, with the first violins and second soprano covering the area in a well understood task subdivision and height when is vocal ensembles, the quartet seems almost always a complete under-organization
The reason is easy to determine, although the division of the voices of a quartet is simplified talking soprano, alto, tenor and bass, the reality is different. Each of these strings has and supports, in practice aural variety of characters and properties of diversification. For example, a lyric-dramatic soprano, or just poetry, it has the potential to spread easily carried the region sobreaguda to soprano. The contralto register is better balanced when the depth and warmth of this rope swing as smoothly and height of the mezzo-soprano.
The same goes for the other strings as we descend in the range of expansion: the central tenor voice is usually more expressive and pithy, "first tenor" sharper and piping: more suitable, material, to dwell in relative comfort for the more exposed areas of the male voice. It is also fortunate that the low, who cares for the honor of most underground sounds, the baritone has its natural expansion and projection upward by the nexus of the baritone.
A vocal quartet is most likely not be issued in a musical texture circumscribed maximum coma for four voices, because the human throat, unlike polyphonic keyboard instruments, and also the various stringed instruments, can produce a unique sound at a time and not two or more simultaneous. Therefore, a byte has rich and varied opportunities that come to double the vocal quartet, allowing up to eight textures separate notes, as you will appreciate this listener heard repeatedly perceptive.
The possibility of not only singing, but also on purpose, expands in the fed annatto measured more vocal in suggesting that the mere doubling of the number of voices. And this property acquires special significance in a program such as this provides "Buenos' Aires 8", vocal arrangements whose ten human voice is used as an externalization and Recreation "instrumental", with a restless search for ring items and color suggesting the authenticity and genuineness that the instrument for which it was originally conceived given page. Modular possibilities of incurring beautiful effects of figuration, to expand the dynamic framework (if only for the simple reason that sensitize the decibelímetro eight voices rather than four) are strongly shown in all these interpretations of "Buenos Aires 8 ".
This group of youth, entrepreneurs who have chosen items canalizor their musical on the paths (paradoxically) of the musical, no less an example in an age where anything can be called vocal or musical, but tangible demonstrations reveal otherwise. As in a hive, these eight elements have made and scholars come to crown a team based on careful management
what each one is better to begin once the foundation and not the top say oue Fernando Ignacio Llosa is set low. In the next step we installed Edelmiro Horacio Corral, baritone performing together and the only instrument that goes "Good Airel 8" in all these interpretations of his: the bass, is used as a harmonic rather than rhythmic support element. Complete the field of male voices with tenor Miguel Angel and César Leonardo Talaba hate. Looking now at the building from the other end, we Angélica María Fanelli to the soprano; sobreaguda voice, the configurations V recredora of occasional effects of "flute" in some of the pages recorded, Mirta Clara Steinberg is also a soprano, mezzo-soprano Analía Lallato and Berta Lidia Talaba contralto. The latter is replaced by Ana Maria Grunwald in Triste N º 3, Rancho Abandoned and Escondido.
A word clarification is necessary when repairs on parts that address these singers ióvenes rebasantes of espírity and qualities to impose its modality entonon pages here are not "folk" but are conceived and created, mostly in popular vein and composers "cults" who attend but forging rhythms of folk melodies who have not borrowed from the anonymous songs, and have collected or recreated medianlte harmonization.
other hand, think that the members of "Buenos Aires 8" Exclusively are devotees of folklore is to ignore a fundamental fact that its own members are responsible for stress with unequivocal words: "Here, on this record, we illustrate various piano pages , transcribed and adapted to the human voice. But this should not be interpreted as a single musical trend in which we want to pigeonhole. Not at all. On the contrary, we want to stay free of restrictive covenant
on genre, style, etc., because we will actually growing as we wish and be prepared to do serious and dignified. Sometimes it will be songs with texts. Other works, transcribed and vocalized, or also creations "or cappella." Our region is not only the music of Argentina, because, I repeat, we shut ourselves off from any possibility or no artistic experience that deserves to be tried. "Someone has tried to identify points of contact with the" Swingle Singers ", but this notion should be handled with extreme caution, because the French colleagues of this handful of Argentine constants, no matter how musicians and artists may be, based on the assumption of a rhythmic disfigurement assimilated to the music of "swing" all composition they addressed, whether Boch or Mozart to Debussy and Chopin. Not appear that members of "Buenos Aires 8" intending to use music to change their affiliation rhythm or character: they only change here-and hearing-conclusively demonstrated in the
instrumental means through which is externalized this or that page, while retaining its character, its esenciolidades rhythmic sense and original expression.
The ten pages have registered deep and sober corácter Argentines. Julian Aguirre, the Spaniard who is among the illustrious predecessors of our air Creole is "native" in its broad sense crossover and elevation between forms of the mainland music and its subtle transformation to the environment, the landscape, the feeling of a new nation like ours figure footprint and two of his lucky number and Sad. It is a poignant tribute to a musician who, as Alberto Williams, marked the first hard grooves that later generations found other more bearable because of the energies could then be reserved for the existing fertilizer, and did not show for the hard work of plowing.
Footprint, Aguirre, with its quadruple time, has a strong start stitching rhythmic figures with eighth note triplets. Then it begins to cavort the melody, haunting and different voices. The vocal treatment not lacking adequate flexibilities dynamic contrasts and tempo that fits perfectly the emotional content of the page. Towards the end comes a pedal organ strain. El Triste N º 3 flaunt different compass notation No. 5. He responds to two of four: the attack is for the alto, which starts with a codenza that falls from the The. The bike is quiet and slow, intimate atmosphere permeated with sweet nostalgia. The male voices, ranging harmonic points distention of the upper lines suggest, almost paint-cansilno ride, as if a passenger or riding out a sluggish stride. In transplantation today beautiful and varied vocal effects and occasional "In unison at the octave." In the sad N º 5 confronts the listener ostinoto rate already is familiar from previous Sad, but there are distinct differences emerging
compass used here Julián Aguirre, six octaves. Abandoned
El Rancho is one of the most popular piano pieces by Alberto Williams, another illustrious figures of our music. Belongs to the Suite "In the Sierra," and while recording I know a very successful especially Leah Cimaglia-Espinosa) is the first time it appears on transcript for vocal octet. In the section beginning slow and melancholic, piano figurations are entrusted to the soprano voice as well as other strings. In the twenty-first bar that beat rhythm emerges as tense and characteristic of the page where it said that a background dancer symbolize ancient splendors of the ranch then sadly rundown. Polyphonic treatment abound. In the sixtieth time the player returns to the silent part in that sweet sorrow before the prelude and postlude now work. Everything ends with a serious pedal, piano on the Fa.
The recital of "Buenos Aires 8" contains two bailecitos our highly esteemed author, one of them today. On the now defunct Buchardo Carlos Lopez is funny, playful spirit with a lot of courting and flirtatious. Dance is an air of mild, winged, and I'm short indeed. His vocal performance gives a lot to do with the different strings, which distribute responsibilities here. Carlos
The bailecito Guastovino contains mischief, motion, playful nervousness. Destacor are quena effects as the light soprano voice.
Yaraví, Gallac Hector is one of the pages to which "Buenos Aires 8" shows greater fidelity. It is written in three-quarter time and the music comes on slowly "pesante" acotaría a musician accustomed to the classical notations of expression. But it takes an ascending scale occur in acute soprano voice (with great restraint dynamic, it should be noted), an effect that bringing say are akin to the Indian harp.
Of the numerous "milongas" written by Alberto Williams, and among those who are so expressive and colorful examples like "The Look of my China", "Dancer Sandunguera", "the Trapero," the mountebank "or" Luciérnogas in The net of my China "(a poem as a title) the set" Buenos Aires 8 "has chosen a well characteristic of the author, entitled By the fire. Do not know why, its music intentionally brought the memory of an old mill cake Fields which possess the original, entitled "Around the Campfire all are beautiful." Coyetano Troiani, Argentine pianist and composer born in 1873 and educated at the Conservatory Naples was once recalled by the Insigne disk Ricardo Vines, who carried his name around the world Buchardo Lopez brother. It is fitting that it evokes with its tasty Escondido, as well as Alberto Ginastera is entered in the Argentine newspaper with one of his most charming and contagious pages: Danza de la Moza Donosa. Letters
RICARDO
TURRÓ
BUENOS AIRES
8
Music Hall 2004
01. FOOTPRINT - Song - Julian Aguirre
02. SAD # 3 - sorry - Julian Aguirre
03. Bailecito-bailecito - Carlos Guastavino
04. ABANDONED RANCH-classical - Alberto Williams
05. ESCONDIDO - dance - Cayetano Troiani
06. YARAVI - yaraví - Hector Gallac
07. DONOSO MOZA DANCE - Dance - Alberto Ginastera
08. By the fire - milonga - Alberto Williams
09. SAD # 5 - sorry - Julian Aguirre
10. Bailecito - Dance - Carlos Lopez Buchardo
Download from here
are not required, but ...
That enjoyment !!!!!
On this album you will find some surprises unpublished. The track 11,
for example, is a recording that, to my knowledge, no
reissued in any other disk. Probably comes from 78 rpm discs that Carlos Di Fulvio
recorded before their first LP.
Regards, Jose Luis
Atahualpa Yupanqui - AUTHOR
(stereo vinyl LP released in 1976, with recordings made between 1943 and
1969, Buenos Aires: EMI-ODEON Pampa 3020)
Side 1 (MAI-XLD 50,167)
01. Luna Tucumán (samba, A. Yupanqui) - by Julio Molina Cabral and
set - 3'27 (fig. 07/13/1956)
02. The poor (samba, A. Yupanqui) - by Enrique Espinosa and his group -
3'13 (fig. 12/05/1969)
03. Adios Tucuman (samba, A. Yupanqui) - by Duo Benítez-Pacheco - 3'18
(fig. 08/07/1947)
04. The axles of my cart (milonga, R. A. Yupanqui and Risso) - by Los Huanca Hua
- 2.58 (fig. 11/10/1961)
05. The Arribeños (samba, collect. And arrangement A. Yupanqui) - by
Duo Benítez-Pacheco - 3.14 (fig. 17/07/1944)
06. The horse (Song, A. Yupanqui) - by Julio Molina Cabral and
set - 3'21 (fig. 15/10/1954)
Side 2 (MAI-XLD 50,168)
07. Sorrel (Song, A. Yupanqui and P. del Cerro) - by Alberto Merlo - 3'35
(fig. 01/30/1962)
08. Cricket samba (samba, A. Yupanqui) - Duet by Ruiz-Gallo - 3'03
(fig. 23/01/1946)
09. Memories of Portezuelo (Song, A. Yupanqui) - by The Nocheros of
Anta - 4'12 (fig. 07/18/1968)
10. Are clearly (samba, A. Yupanqui and S. Paredes) - by
Duo Benítez-Pacheco - 3'00 (fig. 06/25/1943)
11. Chacarera of stones (chacarera, A. Yupanqui and P. del Cerro) - by Carlos Di Fulvio
- 2'14 (fig. 23/08/1957)
12. Indian Trail (Song, A. Yupanqui) - by Cristina and Hugo, with
orchestra - 3'00 (fig. 10/29/1969) Losing
here
8
BUENOS AIRES
BUENOS AIRES 8 is an Argentine vocal group makes its phonographic with this issue through its baptism a little unusual, modern "challenging" as it likes young people, is established that it is eight elements. What is not patented in that name (who preferred "8" to "Octet") is that it is in the presence of an entirely vocal, not instrumental, as it could make the program announced: formed almost entirely by
pages that meet our vernacular dancing forms, due to the pen or assimilated by native authors and right spirit, like the Basque Julián Aguirre.
As we mentioned a Basque, say 'Buenos Aires 8, "why in Vizcaya, a region so rich in popular vocal music, it is called" annatto ": that is, a group of eight voices together to cultivate singing. And when you think about an extension of that number, to transform it into a group vocal chamber music as the animated Pamplona Choir Murgiondo, the number rises to sixteen voices and the whole is popularly called, always among the Basques, a "double annatto. Is that the number eight seems to get a sense both as a practice in cabalistic exercise of vocal music. If the cello string quartet performs the functions of "low", the violation of a contralto with some wording, with the first violins and second soprano covering the area in a well understood task subdivision and height when is vocal ensembles, the quartet seems almost always a complete under-organization
The reason is easy to determine, although the division of the voices of a quartet is simplified talking soprano, alto, tenor and bass, the reality is different. Each of these strings has and supports, in practice aural variety of characters and properties of diversification. For example, a lyric-dramatic soprano, or just poetry, it has the potential to spread easily carried the region sobreaguda to soprano. The contralto register is better balanced when the depth and warmth of this rope swing as smoothly and height of the mezzo-soprano.
The same goes for the other strings as we descend in the range of expansion: the central tenor voice is usually more expressive and pithy, "first tenor" sharper and piping: more suitable, material, to dwell in relative comfort for the more exposed areas of the male voice. It is also fortunate that the low, who cares for the honor of most underground sounds, the baritone has its natural expansion and projection upward by the nexus of the baritone.
A vocal quartet is most likely not be issued in a musical texture circumscribed maximum coma for four voices, because the human throat, unlike polyphonic keyboard instruments, and also the various stringed instruments, can produce a unique sound at a time and not two or more simultaneous. Therefore, a byte has rich and varied opportunities that come to double the vocal quartet, allowing up to eight textures separate notes, as you will appreciate this listener heard repeatedly perceptive.
The possibility of not only singing, but also on purpose, expands in the fed annatto measured more vocal in suggesting that the mere doubling of the number of voices. And this property acquires special significance in a program such as this provides "Buenos' Aires 8", vocal arrangements whose ten human voice is used as an externalization and Recreation "instrumental", with a restless search for ring items and color suggesting the authenticity and genuineness that the instrument for which it was originally conceived given page. Modular possibilities of incurring beautiful effects of figuration, to expand the dynamic framework (if only for the simple reason that sensitize the decibelímetro eight voices rather than four) are strongly shown in all these interpretations of "Buenos Aires 8 ".
This group of youth, entrepreneurs who have chosen items canalizor their musical on the paths (paradoxically) of the musical, no less an example in an age where anything can be called vocal or musical, but tangible demonstrations reveal otherwise. As in a hive, these eight elements have made and scholars come to crown a team based on careful management
what each one is better to begin once the foundation and not the top say oue Fernando Ignacio Llosa is set low. In the next step we installed Edelmiro Horacio Corral, baritone performing together and the only instrument that goes "Good Airel 8" in all these interpretations of his: the bass, is used as a harmonic rather than rhythmic support element. Complete the field of male voices with tenor Miguel Angel and César Leonardo Talaba hate. Looking now at the building from the other end, we Angélica María Fanelli to the soprano; sobreaguda voice, the configurations V recredora of occasional effects of "flute" in some of the pages recorded, Mirta Clara Steinberg is also a soprano, mezzo-soprano Analía Lallato and Berta Lidia Talaba contralto. The latter is replaced by Ana Maria Grunwald in Triste N º 3, Rancho Abandoned and Escondido.
A word clarification is necessary when repairs on parts that address these singers ióvenes rebasantes of espírity and qualities to impose its modality entonon pages here are not "folk" but are conceived and created, mostly in popular vein and composers "cults" who attend but forging rhythms of folk melodies who have not borrowed from the anonymous songs, and have collected or recreated medianlte harmonization.
other hand, think that the members of "Buenos Aires 8" Exclusively are devotees of folklore is to ignore a fundamental fact that its own members are responsible for stress with unequivocal words: "Here, on this record, we illustrate various piano pages , transcribed and adapted to the human voice. But this should not be interpreted as a single musical trend in which we want to pigeonhole. Not at all. On the contrary, we want to stay free of restrictive covenant
on genre, style, etc., because we will actually growing as we wish and be prepared to do serious and dignified. Sometimes it will be songs with texts. Other works, transcribed and vocalized, or also creations "or cappella." Our region is not only the music of Argentina, because, I repeat, we shut ourselves off from any possibility or no artistic experience that deserves to be tried. "Someone has tried to identify points of contact with the" Swingle Singers ", but this notion should be handled with extreme caution, because the French colleagues of this handful of Argentine constants, no matter how musicians and artists may be, based on the assumption of a rhythmic disfigurement assimilated to the music of "swing" all composition they addressed, whether Boch or Mozart to Debussy and Chopin. Not appear that members of "Buenos Aires 8" intending to use music to change their affiliation rhythm or character: they only change here-and hearing-conclusively demonstrated in the
instrumental means through which is externalized this or that page, while retaining its character, its esenciolidades rhythmic sense and original expression.
The ten pages have registered deep and sober corácter Argentines. Julian Aguirre, the Spaniard who is among the illustrious predecessors of our air Creole is "native" in its broad sense crossover and elevation between forms of the mainland music and its subtle transformation to the environment, the landscape, the feeling of a new nation like ours figure footprint and two of his lucky number and Sad. It is a poignant tribute to a musician who, as Alberto Williams, marked the first hard grooves that later generations found other more bearable because of the energies could then be reserved for the existing fertilizer, and did not show for the hard work of plowing.
Footprint, Aguirre, with its quadruple time, has a strong start stitching rhythmic figures with eighth note triplets. Then it begins to cavort the melody, haunting and different voices. The vocal treatment not lacking adequate flexibilities dynamic contrasts and tempo that fits perfectly the emotional content of the page. Towards the end comes a pedal organ strain. El Triste N º 3 flaunt different compass notation No. 5. He responds to two of four: the attack is for the alto, which starts with a codenza that falls from the The. The bike is quiet and slow, intimate atmosphere permeated with sweet nostalgia. The male voices, ranging harmonic points distention of the upper lines suggest, almost paint-cansilno ride, as if a passenger or riding out a sluggish stride. In transplantation today beautiful and varied vocal effects and occasional "In unison at the octave." In the sad N º 5 confronts the listener ostinoto rate already is familiar from previous Sad, but there are distinct differences emerging
compass used here Julián Aguirre, six octaves. Abandoned
El Rancho is one of the most popular piano pieces by Alberto Williams, another illustrious figures of our music. Belongs to the Suite "In the Sierra," and while recording I know a very successful especially Leah Cimaglia-Espinosa) is the first time it appears on transcript for vocal octet. In the section beginning slow and melancholic, piano figurations are entrusted to the soprano voice as well as other strings. In the twenty-first bar that beat rhythm emerges as tense and characteristic of the page where it said that a background dancer symbolize ancient splendors of the ranch then sadly rundown. Polyphonic treatment abound. In the sixtieth time the player returns to the silent part in that sweet sorrow before the prelude and postlude now work. Everything ends with a serious pedal, piano on the Fa.
The recital of "Buenos Aires 8" contains two bailecitos our highly esteemed author, one of them today. On the now defunct Buchardo Carlos Lopez is funny, playful spirit with a lot of courting and flirtatious. Dance is an air of mild, winged, and I'm short indeed. His vocal performance gives a lot to do with the different strings, which distribute responsibilities here. Carlos
The bailecito Guastovino contains mischief, motion, playful nervousness. Destacor are quena effects as the light soprano voice.
Yaraví, Gallac Hector is one of the pages to which "Buenos Aires 8" shows greater fidelity. It is written in three-quarter time and the music comes on slowly "pesante" acotaría a musician accustomed to the classical notations of expression. But it takes an ascending scale occur in acute soprano voice (with great restraint dynamic, it should be noted), an effect that bringing say are akin to the Indian harp.
Of the numerous "milongas" written by Alberto Williams, and among those who are so expressive and colorful examples like "The Look of my China", "Dancer Sandunguera", "the Trapero," the mountebank "or" Luciérnogas in The net of my China "(a poem as a title) the set" Buenos Aires 8 "has chosen a well characteristic of the author, entitled By the fire. Do not know why, its music intentionally brought the memory of an old mill cake Fields which possess the original, entitled "Around the Campfire all are beautiful." Coyetano Troiani, Argentine pianist and composer born in 1873 and educated at the Conservatory Naples was once recalled by the Insigne disk Ricardo Vines, who carried his name around the world Buchardo Lopez brother. It is fitting that it evokes with its tasty Escondido, as well as Alberto Ginastera is entered in the Argentine newspaper with one of his most charming and contagious pages: Danza de la Moza Donosa. Letters
RICARDO
TURRÓ
BUENOS AIRES
8
Music Hall 2004
01. FOOTPRINT - Song - Julian Aguirre
02. SAD # 3 - sorry - Julian Aguirre
03. Bailecito-bailecito - Carlos Guastavino
04. ABANDONED RANCH-classical - Alberto Williams
05. ESCONDIDO - dance - Cayetano Troiani
06. YARAVI - yaraví - Hector Gallac
07. DONOSO MOZA DANCE - Dance - Alberto Ginastera
08. By the fire - milonga - Alberto Williams
09. SAD # 5 - sorry - Julian Aguirre
10. Bailecito - Dance - Carlos Lopez Buchardo
Download from here
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