{"id":1876,"date":"2020-03-01T12:26:07","date_gmt":"2020-03-01T12:26:07","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1876"},"modified":"2023-07-10T14:32:51","modified_gmt":"2023-07-10T14:32:51","slug":"oberture-urbana-2004-urbana-5","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/oberture-urbana-2004-urbana-5\/","title":{"rendered":"Oberture Urbana (2004) (Urbana 5)"},"content":{"rendered":"

For diatonic bandoneon and orchestra.<\/b><\/p>\n

Recorded 30th May 2004 in Radio France Maison for the emission of \u201cAlla Breve\u201d of France Musique.<\/span><\/p>\n

Orchestre Philharmonique of Radio France
\ndirected by <\/span>Kiryl Karabits<\/b>, soloist bandoneon <\/span>Per Arne Glorvigen<\/b>.<\/span><\/p>\n

Duration: circa 12 minutes.<\/span><\/p>\n

Dedicated to Per Argen Glorvigen and Rut Schereiner \u201ccriollos de pura cepa\u201d (full-blooded\u00a0 creoles)<\/span><\/em><\/p>\n

This piece, as opposed to what might be thought, does not have any elements from a classical overture.<\/span><\/p>\n

The meaning of overture is more general and one needs to resort to it in order to discover the musical discourse climax. Effectively, the orchestra, which is a reflection of the bandoneon\u2019s bellows, opens up to the sound space by drawing in the diverse influences that it provides.<\/span><\/p>\n

Divided in 5 movements, the work responds the particular format of \u201cAlla Breve\u201d<\/strong><\/em> broadcasting in France Musique. This broadcast was created in 1998 by Ren\u00e9 Koering, its director. Its main objective was to overfill the lack of spreading contemporary music had in the state Radio. Each day of the week a part or movement of the commissioned work is spread. A wider broadcast allows the complete hearing and an interview with the composer. \u201cAlla Breve\u201c was removed, and then put back; its name changed to \u201ccr\u00e9ation mondiale\u201d and is always in charge of Anne Montaron, in France Musique\u2019s wavelength.<\/span><\/p>\n

Number 5 has an internal and structural significance in the work. Although each of the movements do not have subtitles, they are associated to the days of the week and to the roman gods who give rise to their names.<\/span><\/p>\n

Curiously, the work begins with Mars and ends with Jupiter.<\/span><\/p>\n

Each number has a small commentary denoting its temper.<\/span><\/p>\n