Cuban composer has written a substantial body of work for the guitar throughout his career. This piece, Elogio de la Danza (Homage to the Dance), comes from his earlier years, but already exhibits a fairly advanced expressive manner within its tonal framework. It is cast in two movements, each having a duration of about three minutes.
The first is marked Lento, while the second, an homage to the famous Ballets Russes of Serge Diaghilev, carries the designation Ostinato. The work opens slowly and tentatively, content to create a dark atmosphere before introducing dance elements. A lively rhythm soon appears, but the music still struggles to get going, at times becoming animated, at others slackening off and turning timid and ponderous. This section ends with the music fading into a grayish mist, the ensuing movement proceeding without pause. Here, the music is livelier in its driving rhythms and features tapping effects that provide percussive color and invoke images of flamenco feet slapping the floor. Windows xp gratis. While there are Cuban and even Spanish national elements surfacing in the notes, steers clear of obvious folk influences, tempering his music with a cosmopolitan and quite serious manner.
Elogio De La Danza![]() Brouwer L Complete (from Elogio De La Danza)
Parts/Movements. Lento. Ostinato Appears On.
Leo Brouwer is a Cuban-born composer who is primarily known for his works for the guitar. His compositional career can be broken down into three periods: his early, or nationalistic period; his middle, or avant-garde period; and his current period which is known as his 'New Simplicity,'� which is exemplified by a general return to tonality. This paper includes a brief biography of the composer and explores the transition of his compositional style from the early to middle periods through analysis of his Elogio de la danza, a work that features characteristics of both periods.
Significado De Elogio
The musical elements that are most closely examined are rhythm, harmony, timbre, and dynamics. Brouwer's use of traditional Cuban rhythms was typical of his earlier works, as was his utilization of more concise forms. His harmonic language includes triads, a tonal center, quartal harmonies, and cluster chords, a feature that blends techniques from his early and later compositional styles. Extremes in both timbre and dynamics are exemplary of his later works in that they are both structural components of the piece. Files in this item.
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