Leo Brouwer: Paisaje cubano con lluvia by Cristián Alvear, Fernando Abarca, Pablo Olivares & Andrés Pantoja, released 12 May Leo Brouwer: Paisaje Cubano con Lluvia, for 4 guitars (Cuban Landscape with Rain) – Play streams in full or download MP3 from Classical Archives. Check out Paisaje Cubano Con Lluvia (Brouwer) by Quartet de Guitarres on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on .
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Paisaje Cubano con Lluvia, for 4 guitars (Cuban Landscape with Rain)
The dichotomy then is presented between the very metric Hrst measures, in which there is no room for a rubato-type of interpreta”on, and the highly organized but aurally looser form of the sec”on men”oned above. For example, one could label the style from which Brouwer is deriving its main elements as an isotopie. Ergo, minimalism appears here as a deep structure that holds the piece together. In other words, his music lluuvia be perceived in a dialec”cal manner that synthesizes Afro-Cuban aesthe”cs with modern European trends.
This answer, although apparently a far-fetched idea, seems to sa”sfy my ini”al inquiry in regards to the isotopie of “Cubanness” found in the piece. In fact, the parts oQen seem to overlap crea”ng an intricate textural web that gives the allusion of mul”ple drops of water falling at aleatoric rates. Cuban Landscape with Rain: Perhaps, this is a far-fetched idea, but I am willing to enunciate it as it interes”ng to speculate as to why Brouwer decided to use close imita”on as means broueer convey the idea of rain.
These symbols, or cno, which now belong to the collec”ve imaginary of a par”cular culture, need a full cultural study: In very general terms, one relates the aesthe”cs of Cuban music with na”onalis”c traits that are always present in tradi”onal music and that derive from the Afro-Cuban tradi”on.
In this sense, Afro Cuban music is delivered in a more abstract manner, which propels it into a diNerent direc”on, being more accessible in a global and transcultural connota”on.
Leo Brouwer: Paisaje cubano con lluvia | Cristián Alvear
Finally, one encounters the idea of “Cubanness” as an isotopie that provides a deeper insight of the meaning of the piece. This sort of redundancy is not pointed out by Taras”, and falls into a personal commentary modeled by my experience dealing with the aforemen”oned concepts.
Firstly, there is a clear sense of form delineated by sec”ons that are dis”nct from each other, and that are fundamentally connected to the narra”vity of the piece. Toward an Interpreta”ve Theory of Culture.
Furthermore, it can come to be extremely e4cient when dealing with pieces that relate to na”onalis”c trends, par”cularly in the study of music symbols or topoi.
Taras” follows lluvua iden”Hca”on of isotopies with three categories that he classiHes as cons”tu”ve core elements of a sound semio”c analysis. Can a composer ar”culate meaning by making a deliberate composi”onal decision? As Chagas explains, “Music refers to itself, and to the speciHc culture – the speciHc “me and space in which it emerges.
Verbal ac”vity is thus, a limi”ng or perhaps foreign tool that does not provide a truthful portrayal of the complexity—some might argue for the simplicity as well—of music. Accordingly, I will Hrst lluvka by describing some of the elements present in Taras”‘s theory that derive from Greimas’ genera”ve trajectory, and that deal with an analysis that begins at the deeper levels background and makes its way to the surface level foreground.
This is taken to the extent that the pizzicato sec”on may be perceived as a pas”che of untamed chaos. This can also be evidenced by the trend that musicology has taken in the past decades that expands into the anthropological realm.
Volume 2,ed. However, there is not a direct element that indicates that the piece is conspicuously Cuban.
Then, depending on whether we locate it in a certain nota”onal representa”on, or in a speciHc realiza”on, or in an idealiza”on of that realiza”on, or in the interface of brouqer speciHc realiza”on and the listener’s idealiza”on, or in the composer’s idealized realiza”on – we should go on to develop the appropriate deHni”onal apparatus.
The Sense of Music: In this piece, coon can Hnd a vast amount of indexical moments to the point that I would argue that this piece is more indexical than iconic. Secondly, since an index can be described as a category that has a rela”on of con”guity with an object—presen”ng a major form paisaue abstrac”on if compared to an icon—musically speaking, the index can be inferred as an element that displays emo”on or a speciHc mood that shows a rela”on to an object.
Hrst, it must explain the laws that govern the moment-by-moment succession of events in a piece, that is, the syntax of music.
Temporality, on the other hand, paisaaje conveyed through a dichotomy of rhythmic ac”vity. Indiana University Press, Second and consequently, it must explain the constraints aNec”ng organiza”on at the highest level– levels of sentence, paragraph, chapter, and beyond.
This was the beginning of composing for me. These traits derive from Western Lkuvia tradi”ons, which Brouwer is commonly known for using in his pieces Hudson