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Luis de Pablo, Las Orillas • Antonin Dvorak, Symphony 8 |
| 1 |
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Las Orillas- Nocturno |
07:12 |
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| 2 |
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- El Dia |
13:47 |
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| 3 |
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- Crepuscular |
09:09 |
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| 4 |
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Sinfonia N. 8 - Allegro con brio |
10:52 |
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| 5 |
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- Adagio |
11:10 |
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| 6 |
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- Allegretto grazioso |
06:12 |
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| 7 |
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- Allegro ma non troppo |
10:27 |
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Total Time |
01:08:49 |
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| Digital Booklet - only with album |
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| “It seems most important to me not to stop being a connoisseur; I freely confess that I would rather be considered a hedonist than an analyst.” This statement by Luis de Pablo is reflected in his music; not in violent yet superficial currents of sound but in finely differentiated sound as de Pablo’s Las Orillas (1990) demonstrates: “The composition is very linear, particularly in the slower parts. The orchestration has therefore been planned especially thoroughly such that each voice has a meaning of its own.” While the three movements, Nocturno, El Día and Crepuscular, eschew easy programmatic definition, the two corner movements supplement each other forming an arch. “Las Orillas constitutes its own universe of a diversified musical culture. It was created out of my own experiences with music in the motley of cultures of my country, which have also influenced other cultures.” (Luis de Pablo) As a bonus, the CD also features a recording of Antonín Dvořák’s Symphony No. 8 whose rich musical ingenuity and spirited finale provide an interesting counterpoint to Las Orillas. |
1CD | Orchestral | Contemporary | Special Offers |
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| Recommendation |
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Maderna’s oboe concertos: a remarkable amalgamation of serialism, polyphone interweavings, sound poetry and delicate lyricisms.  |
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Symphonies 3 & 8
Haydn Orchestra - Gustav Kuhn |
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| In the echo chambers of tradition. Ernst von Siemens composer’s award winner David Pilip Hefti. |
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