Podcast appearances and mentions of Alberto Ginastera

Daniela Yurrita, soprano, y Mar Compte, pianista. Dos mujeres talentosas que se reúnen para un evento único en la ciudad de Ratisbona (Regensburg, en alemán). En el bello escenario del Theater Regensburg, el teatro de la ciudad, ambas artistas presentarán la música de once países latinoamericanos, que refleja la gran variedad cultural y musical de esta región. El 21 de mayo, Ratisbona será testigo de este recital en el Neuhaussaal, titulado Melodías del Nuevo Mundo, en el que se podrá disfrutar de la belleza de la música de América Latina. El programa del concierto incluye un amplio abanico de obras de diferentes compositores como Alberto Ginastera y María Grever, entre otros. En nuestra charla conversamos sobre este concierto, pero también sobre la historia de migración de ambas artistas, sobre cómo se conocieron, sobre el desafío que supone la migración para artistas como ellas, pero también sobre la alegría de triunfar en tierras ajenas y sobre la posibilidad de compartir la música propia con el público europeo. Daniela Yurrita en las redes sociales Facebook: @daniela.yurrita Instagram: @danielayurrita_soprano YouTube: @danielayurrita_soprano Página Web www.danielayurrita.com Mar Compte Instagram: @mar.compte YouTube: @CompteMar Latinotopia en las redes sociales Instagram, Facebook y TikTok @Latinotopia Website: www.latinotopia.net Suscríbete a nuestro canal de Youtube: https://www.youtube.com/latinotopia Suscríbete en tu plataforma favorita de Podcast! Moderación: William Bastidas

durée : 00:07:23 - La Sonate pour guitare op. 47 d'Alberto Ginastera (1916-1983) - "L'œuvre d'un des plus grands compositeurs sud américain Alberto Ginastera qui s'est sérieusement intéressé à la guitare. Cette sonate est une partition essentielle, un must-play du guitariste classique. C'est certes sa seule partition pour guitare, mais elle est d'importance." Sébastien Llinarès

Bandoneonista, director de orquesta y compositor, nació el 11 de marzo de 1921 en Mar del Plata, provincia de Buenos Aires y murió el 4 de julio de 1992. Es considerado uno de los músicos más importantes de la Argentina, con proyección mundial. Hijo de Vicente “Nonino” Piazzolla y Asunta Manetti, ambos argentinos, recibió el nombre de Astor que en latín significa “astro”. Su contacto con la música se inició en Nueva York, Estados Unidos, donde su familia vivió entre 1925 y 1936. A los ocho años, su padre le regaló su primer bandoneón y comenzó a tomar clases con Andrés D´Aquila. En 1933, estudió música con el pianista húngaro Bela Wilda, quien lo introdujo en el universo sonoro de Bach. Al año siguiente, conoció a Carlos Gardel y, rápidamente, entabló una relación amistosa con él. En 1936, su familia volvió a Mar del Plata, y Astor participó en varios conjuntos y conoció la obra del sexteto de Elvino Vardaro, que lo influenció de forma definitiva. Decidido a explorar el tango, se mudó a Buenos Aires a los diecisiete años y, al poco tiempo, logró ingresar en la orquesta de Aníbal Troilo, primero como bandoneonista de fila y ocasional pianista y, luego, convertido en arreglador de la orquesta. Continuó sus estudios de música académica con Alberto Ginastera y, de piano, con Raúl Spivak. Sus arreglos lo alejaron cada vez más del tango clásico: hacia 1944, abandonó la Orquesta de Troilo para dirigir la orquesta que acompañó al cantante Francisco Fiorentino hasta 1946, cuando compuso El desbande, considerado por él mismo su primer tango con una estructura formal diferente. Formó su propia orquesta, que disolvió en 1949, y comenzó a escribir música para películas. Se apartó del bandoneón y se acercó al jazz: la búsqueda de un estilo diferente a todo lo llevó a profundizar sus estudios musicales. Entre 1950 y 1954, compuso obras claramente distintas de la concepción del tango hasta ese momento (Para lucirse, Tanguango, Prepárense, Contrabajeando, Triunfal, Lo que vendrá), y comenzó a definir su estilo. También en esa época, escribió piezas de música culta, como Rapsodia porteña (1952) y Buenos Aires, tres movimientos sinfónicos (1953). Por la última, ganó el Premio Fabien Sevitzky, y el Gobierno francés le otorgó una beca para estudiar en París con la famosa pedagoga musical Nadia Boulanger, quien lo convenció de que persistiera en el camino del tango. De regreso a la Argentina, convocó a músicos de primera línea y formó el Octeto Buenos Aires que integraron Enrique Mario Francini y Hugo Baralis, en violines; Roberto Pansera, en bandoneón; José Bragato, en violonchelo; Aldo Nicolini, en bajo; Horacio Malvicino, en guitarra eléctrica, y Atilio Stampone, en piano. En 1959, al morir su padre, compuso en su homenaje Adiós, Nonino. En 1960, después de una estadía en Estados Unidos donde se presentó como jazz-tango, formó un quinteto por el que pasaron músicos como Elvio Bardaro, Dante Amicarelli, Antonio Agri, Horacio Malvicino, Oscar López Ruiz, Kicho Díaz, Osvaldo Manzi y Cacho Tirao. En 1968, compuso con el poeta Horacio Ferrer "la operita" María de Buenos Aires. En 1969, comenzó a escribir, también junto a Ferrer, temas para la voz de Amelita Baltar, su pareja por aquellos años: compusieron Balada para un loco, que se convirtió en un gran éxito popular al que sucedieron otros. En 1972, luego de un infarto, decidió instalarse durante cinco años en Italia donde formó el Conjunto Electrónico, grabó Libertango y experimentó su aproximación al jazz-rock. En 1978, volvió con su Quinteto y consolidó su fama internacional con giras por Europa, Sudamérica, Estados Unidos y Japón. En 1983, en el Teatro Colón, ofreció una programación íntegramente compuesta por él. En 1989, formó Sexteto Nuevo Tango, con el que actuó en el Teatro Ópera, realizó giras y se presentó como solista hasta su disolución a fines de ese año. El 4 de agosto de 1990, en París,

Guest conductor Ramón Tebar talks about his concerts "Spanish Nights" with the Reno Phil on January 27 and 28, 2024, which include the Four Dances from Estancia by Alberto Ginastera, the Fantasía para un gentilhombre by Joaquín Rodrigo, and the ballet The Three-Cornered Hat by Manuel de Falla.

Astor Piazzolla grew up playing bandoneon in tango orchestras in New York City where he met Carlos Gardel. He would return to Argentina to study music composition with Alberto Ginastera, move to Paris to study with Nadia Boulanger, and eventually become the world’s greatest tango composer. Piazolla revolutionized the tango to a style now termed READ MORE The post 87. Le Grand Tango first appeared on Accelerando Podcast.

De drie kwartetten van Alberto Ginastera horen thuis bij de top van het repertoire. Ze zijn geschreven op het grensgebied tussen de Argentijnse nationale muziek en een late vorm van expressionisme. In zijn Tweede kwartet heeft Ginastera alle folklore achter zich gelaten. Zijn muziek is hier streng gevormd (en deels gebaseerd op een twaalftoonreeks) maar […]

E é com a trilha sonora do poema sinfónico Popol Vuh, do compositor argentino Alberto Ginastera, que percorremos o mundo Maia. Este episódio foi produzido pelo Berta Coletivo Latinoamericanista.

Ganador de prestigiosos concursos como el Paloma O’Shea o el Arthur Rubinstein, Juan Pérez Floristán es uno de los pianistas más destacados de la escena actual. Tras su reciente paso por el Festival Eñe de Málaga, donde ofreció el pasado viernes 4 de noviembre el recital “Los lenguajes de la poesía al piano” junto al joven poeta Mario Obrero (Premio Loewe de Poesía 2021), el músico nos acerca su último trabajo: {Algo}ritmo. Un disco grabado en directo en la Sala Mozart del Auditorio de Zaragoza en un concierto en el que interpretó Música Ricercata de György Ligeti, las 3 Danzas Argentinas de Alberto Ginastera y los Cuadros de una Exposición de Modest Mussorgsky. Escuchar audio

Un Día Como Hoy 25 de Junio: Acontece: 1857: en París, el poeta Charles Baudelaire publica Las flores del mal. Nace: 1860: Gustave Charpentier, compositor francés (f. 1956). Fallece: 1767: Georg Philipp Telemann, compositor alemán (n. 1681). 1983: Alberto Ginastera, compositor argentino (n. 1916). Conducido por Joel Almaguer. Una Producción de Sala Prisma Podcast. 2023

This week on The Sound Kitchen you'll hear the answer to the question about the film Insh'Allah a Boy. There's “On This Day”, the “Listeners Corner” with Paul Myers, and Erwan Rome's “Music from Erwan”. All that, and the new quiz question too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 27 May, I asked you a question about the Cannes Film Festival, which RFI English journalist Ollia Horton covered. That first week, Ollia watched a duo of films about boys … one was by the Jordanian director Amjad Al Rasheed, called Insh'Allah a Boy. It was the director's first feature to be screened in competition as part of Critic's Week, and the first film to represent Jordan in Cannes.Insh'Allah a Boy tells the story of Nawal, a young woman whose husband suddenly dies. As Ollia wrote: “She quickly discovers that she is at the mercy of her in-laws, who legally have the right to claim her home.”You were to re-read Ollia's “Postcard from Cannes Number Three” and send in the names of the principal actress and the two screenwriters. The answer is, as Ollia informed us: Palestinian Mouna Hawa is the principal actress, and the two screenwriters are Rula Nasser, who is Jordanian - Canadian, and Delphine Agut, who hails from France.In addition to the quiz question, there was the bonus question: “How do you get rid of hiccups?”The winners are: RFI Listeners Club member Abu Saleh from Rangpur, Bangladesh.  Abu is also the winner of this week's bonus question. Congratulations, Abu! Also on the list of winners this week is Shivendu Paul, the president of the RFI Metali Listeners Club in West Bengal, India. RFI Listeners Club members Mizanur Rahman from Dhaka, Bangladesh, and Jayanta Chakrabarty from New Delhi, India are also winners. Last but certainly not least, RFI English listener Farhana Mousumi Nitu, from Naogaon, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme: “Malambo” from Estancia by Alberto Ginastera, performed by the Simon Bolivar Youth Orchestra conducted by Gustavo Dudamel; “Ishraq” by Naseer Shamma, performed by Naseer Shamma and the Lebanese Oriental Orchestra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Agua de Beber” by Antonio Carlos Jobim and Vinícius de Moraes, sung by Astrud Gilberto.  Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Melissa Chemam's article: “EU and Kenya sign trade deal in Nairobi in a move to strengthen continental ties” to help you with the answer.You have until 17 July to enter this week's quiz; the winners will be announced on the 22 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

En este episodio recordamos eso hitos que son la Historia de siempre. Discutimos sobre los millonarios, submarino, tragedia y migrantes africanos a lo que nadie ayuda en mediterráneo.Signos de capitalismo al palo Altos en el camino... con Lepera, x Aznar y Fernández y Alberto Ginastera. Perú, sin elecciones y tropas de EEUU en su territorio. Uruguay y su crisis hídrica. Cerramos con las canciones de Kevin Johansen.

Nuevamente desentrañamos las mentirosas fronteras entre lo folclórico y lo clásico a partir de dos compositores importantísimos: Béla Bartók y Alberto Ginastera. Realizado por Luciano Grinberg. Los martes de 20 a 21hs por Radio Nacional Clásica (Argentina). Seguinos en Instagram!

In the 21st episode of the ECM Podcast, Zsófia Boros joins us to talk about her new album "El último aliento". The Vienna-based, Hungarian guitarist recorded the album at the Auditorio Stelio Molo in Lugano, with Manfred Eicher producing. On the record Zsófia interprets contemporary Argentinian compositions from Carlos Moscardini, Joaquín Alem, Quique Sinesi and Alberto Ginastera as well as expressive pieces by French composer Matthias Duplessy. In our conversation Zsófia talks about the recording session in Lugano, about how she lets instinct guide her choices of repertory, and she outlines her relationtionship to the songs she interprets and how they become her "good friends".

“Find what you're best at and do that” Holly Cullen-Davies is a pianist, singer, choir leader, environmental campaigner and curator. Holly has been performing regularly since the age of six and working as a freelance musician for over fifteen years. She studied at the CNR de Lyon, France, The Royal Northern College of Music and The Guildhall School of Music and Drama studying with Kasia Borowiak, Carole Presland, Charles Owen and Martin Roscoe. She set up Live Junction which received an Emerging Excellence Award from Help Musicians UK in 2013 and The Kids' Concert Company which has been funded by The Arts Council for the last 4 years to take professional concerts in to primary schools. More recently she set up Concerts Don't Cost The Earth to bring together the two things she is most passionate about: live music and protecting the planet for our next generation. Concerts Don't Cost The Earth supports both musicians and our precious world at the same time. You can find out more about how to support it or get involved here: www.concertsdontcosttheearth.org Time Line 00.00 - 00.44 Intro 00.45 - 05.13 Introducing Holly Cullen-Davies 05.17 - 07.20 The inspiration behind 'Concerts Don't Cost The Earth' 07.35 - 09.02 The role music can play in having difficult conversations about the climate 09.05 - 12.45 Holly's musical journey 12.46 - 16.16 Introducing classical music to unusual spaces 17.12 - 21.46 Holly introduces and plays Chick Corea's Children Song no. 6  21.48 - 24.15 The element of surprise and the juxtaposition of unusual things 25.10 - 26.54 The etymology of ‘concert' 26.55 - 31.37 What fuels Holly's activism? 32.22 - 34.47 Find what you're best at and do that: being the change you want to see 34.50 - 36.01 Subsidise the trains campaign - an activist's song 36.03 - 41.27 Holly introduces and plays Alberto Ginastera's Danza del gaucho matrero (Dance of the outlaw cowboy) from Danzas Argentinas 41.30 - 43.50  How people can organise a ‘Concert Don't Cost The Earth' concert 44.00 - 47.34  David introduces ‘pogging' 47.35 - 48.00  Outro Quotes “I've always loved the intimate concerts… up close… where you can hear the workings of the instrument.” (Holly) “Concerts Don't Cost The Earth exist to start conversations about the climate crisis through the power of music.” (Holly) “What I really got a kick out of was introducing classical music to people that didn't usually hear it and putting it in spaces where you didn't usually hear it. I did a lot of gigs early on where I was the classical act in a cabaret of other acts and it kind of blew people away.” (Holly) “I hate people looking at a programme during a concert. I think that's a shame for them to be sidetracked. I'm hoping that I'm compelling enough as a pianist that they're just listening.” (Holly) I want people to feel the breath, the moment between the pieces and not know what's coming next.” (Holly) “Every percentage of a degree is absolutely critical and going over 1.5 or certainly going over 2.0 degrees will have catastrophic runaway effects that could lead to the end of all life on earth.” (Holly) “When we do risk assessment in other parts of life: medicine, building bridges, flying aeroplanes… we don't take risks. If the scientists are saying this could be a disaster, we don't administer that drug, we don't build that bridge, we don't fly that aeroplane. And the risk here (climate) is huge. And the answer is we have to stop using fossil fuels… we have to phase them out completely by 2030.” (Holly) Links Holly Cullen Davies (Guest) Web: https://www.concertsdontcosttheearth.org/ Web: http://www.hollycullendavies.com/ Instagram @daviesanddaughters Instagram @thulamamalondon David Pearl (Host) Web: https://www.davidpearl.net Web: https://wanderfulpodcast.com Twitter: @davidpearlhere Instagram: davidpearl_here Andrew Paine (Producer & Audio Engineer) Twitter: @ItPainesMe

Un día como hoy, 11 de Abril: Acontece: 1944: en Nueva York, se interpreta por primera vez completo El amor brujo de Manuel de Falla Nace: 1749: Adélaïde Labille-Guiard, pintora francesa (f. 1803). 1772: Manuel José Quintana, escritor español (f. 1857). 1884: León Felipe, poeta español (f. 1968). 1900: Sándor Márai, escritor húngaro (f. 1989). 1916: Alberto Ginastera, compositor argentino (f. 1983). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Víctor Hugo inició un nuevo ciclo de "Estación Piazzolla" remontándose a los comienzos de la historia mediante un recorrido a los años formativos de Astor, recordando a aquellos maestros que lo llevaron a convertirse en un genio de la música. El programa repasó la infancia de Piazzolla en la ciudad de Nueva York cuando despierta su inquietud musical incitado por una de sus profesoras, el regalo del primer bandoneón y el inicio de los estudios musicales en solfeo y mandolina, a raíz de la dificultad para encontrar un profesor de este instrumento en los Estados Unidos. También se recuerda el encuentro con el célebre pianista Arthur Rubinstein, mediante el cual se vincula con Alberto Ginastera convirtiéndose en su primer alumno y cuyas enseñanzas cambiaron su vida. Además, se destaca la influencia de la gran maestra de músicos francesa, Nadia Boulanger, a quien consideró su madre musical y cuyas enseñanzas lograron que Astor no abandonase el bandoneón y definitivamente consolide su estilo compositivo.

This week is the first of a series of episodes focusing on songs with orchestral accompaniment. The genre is almost a contradiction in terms: the intimacy and textual focus of art song with the sometimes strenuous vocal demands of singing over an orchestra. The most celebrated and successful of such songs (by Berlioz, Mahler, Ravel, Barber, Strauss, and others) are heard over and over on symphonic concerts when vocal soloists are the featured guests. And rightly so, for they are among the most glorious classical music written for the human voice. Typically for Countermelody, however, today's episode, however, will focus on repertoire and composers that are less celebrated to the point of being virtually unknown. Composers heard include Frank Martin, Alexander Zemlinsky, Jean Sibelius, Giuseppe Martucci, Franz Schreker, Othmar Schoeck, Antonín Dvořák, Alberto Ginastera, Alphons Diepenbrock and the two Andrés, Jolivet and Caplet, alongside many others, performed by such favorites as Gwyneth Jones, Phyllis Curtin, Peter Schreier, Gundula Janowitz, Yi-Kwei Sze, Mirella Freni, Francisco Araiza, Elisabeth Söderström, and Bernard Kruysen. Also heard are Helen Donath and Andrzej Hiolski, singers soon to be featured on their own episodes, alongside lesser-remembered names such as Arthur Loosli, Irene Gubrud, and Colette Herzog. Conductors include Kurt Sanderling, Antal Doráti, Herbert Kegel, Bohumil Gregor, Hermann Scherchen, and Lorin Maazel. I “guarantee” that your ears will be enchanted and your musical horizons will be expanded by this episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

All Classical Portland Program Director John Pitman shares his latest review of a new album by violinist Hilary Hahn, which includes Dvořák's Violin Concerto, the Violin Concerto by Alberto Ginastera, and Pablo de Sarasate's Carmen Fantasy for violin and orchestra. The album, Eclipse, is available now on Deutsche Grammophon. Keep reading on the All Classical Portland Arts Blog: https://www.allclassical.org/john-pitman-review-hilary-hahns-eclipse/

For violinist Hilary Hahn, finding success as an international soloist has never been about sticking to the same menu of concertos by Beethoven, Mendelssohn, and Sibelius. Now in the fourth decade of her storied career, the three-time Grammy Award winner has consistently worked to expand the scope of the violin canon — commissioning a slate of new works from composers like Edgar Meyer, Jennifer Higdon, and Lera Auerbach. But on Eclipse, her latest release on Deutsche Grammophon, the centerpiece of the album isn't a work written for her. In fact, it's not even by a living composer. It's the violin concerto of Alberto Ginastera — a work that's seldom performed, and one Hahn immediately fell in love with when she first heard it years ago. Ever since then, she knew she had to record it. "It felt like one of those pieces I needed to take on for my own reasons, but also that it wasn't played very much," Hahn says on the latest episode of the Classical Post podcast. "I was enamored with the work, felt like it was written for me, even though I never met the composer. It's exactly what I like to dive into emotionally in music, and it requires a very specific relationship to the instrument that I feel is a strength of mine." Part of the reason Hahn was eager to record the work was not only the chance to add to the concerto's story with her performance — but also to allow everyone who listens to contribute their personal perspective to the work. "Music is a way to connect you with your own experience. As a listener, you are part of the interpretation of that music's history. When you listen to a piece, you add to the diversity of stories that it tells, just by being present in its space." In this discussion, we talk more about Eclipse and why another work on the album, Dvořák's Violin Concerto, deserves much more time in the spotlight as well. Plus, she shares how her wellness routine is all about tuning into the daily ebb and flow of her body, and the facial massage stone that helps her undo the neck and jaw tension that comes with years of playing the violin. Listen to Eclipse on Spotify, Apple Music, or wherever you stream and download music. — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Superstar vioinist Hilary Hahn joins us to talk about her album ECLIPSE, from Deutsche Grammophon records. A celebration of Hilary's return to the stage (after a year-long sabbatical), ECLIPSE documents her artistic growth during that experience – represented by three wonderful works that speak to Hilary's virtuosity in different ways. Listeners will revel in Hilary's performance of Pablo de Sarasate's Carmen Fantasy (which Hilary had never performed before), and a brilliant rendition of Dvořák's sprightly violin concerto. The centerpiece of the program, however, is the violin concerto by Argentine composer Alberto Ginastera. Intricately layered, sometimes powerful and sometimes almost painfully intimate, Ginastera's concerto is given a spectacular performance from Hilary, running the gamut from fierce virtuosity to glass-like delicacy.

Star harpist Yolanda Kondonassis celebrates the centennial of Argentine composer Alberto Ginastera's birth with a new album, Ginastera: One Hundred. The recording features guest appearances by the violin/piano duo of Gil and Orli Shaham plus guitarist Jason Vieaux, as well as a centerpiece of Yolanda's repertoire over the years, Ginastera's Harp Concerto.

Nació el 11 de abril de 1916 en la ciudad de Buenos Aires y es uno de los grandes compositores de música académica contemporánea que vivió para la música y dejó un legado invaluable. Alberto Ginastera se describía como “un hombre del mediterráneo nacido en Buenos Aires. Porque mis abuelos por parte de mi padre eran catalanes y por la parte de mi madre lombardos, del norte de Italia”. Su primer instrumento fue una flauta; pasó de las clases particulares a estudiar formalmente en el Conservatorio Alberto Williams. Compuso su primera obra antes de graduarse, a los 22 años: la suite del ballet Panambí, que sería estrenada en el Teatro Colón pocos años después. Realizó sus estudios musicales en el Conservatorio Nacional de Buenos Aires, bajo la tutela de Athos Palma y José André. En 1945, por su destreza y prestigio para la composición, le otorgaron la beca Guggenheim por lo que vivió dos años en Estados Unidos, estudiando bajo la tutela de Aaron Copland. Al regresar a la Argentina, junto con otros músicos, fundó la Liga de Compositores, la Facultad de Música de la Universidad Católica, donde fue el primer decano, y la Escuela de Altos Estudios Musicales del Instituto Di Tella, en donde se desempeñó como director hasta su emigración. Además, creó el Conservatorio de La Plata, en 1949, y su primera filial, en la localidad de Banfield, en 1951, que luego se llamó Conservatorio Julián Aguirre. Su estilo se divide en tres períodos que él mismo bautizó: nacionalismo objetivo (con presencia de elementos folclóricos), nacionalismo subjetivo (música académica con la influencia de sus estudios en Nueva York), y neoexpresionismo (por la técnica dodecafónica). Entre sus grandes obras se destaca la ópera Bomarzo (1967), basada en la novela homónima de Manuel Mujica Láinez, fue censurada por el gobierno de facto del general Onganía y prohibida en el Teatro Colón; para luego ser estrenada en 1972, repuesta en 1984 y 2003, y filmada en Italia con el título de Bomarzo de 2007. También escribió varios conciertos: 2 para piano, 2 para chelo, 1 para violín y 1 para arpa; otras piezas orquestales como ballets, como Panambí, música de cámara y varios números de piezas para piano. Volvió a los Estados Unidos en 1968; en 1970 se mudó a Europa, y terminó instalándose en Ginebra, Suiza, donde falleció el 25 de junio de 1983. Entre sus reconocimientos, fue distinguido por el Gobierno de Francia con la Orden de las Artes y las Letras, designado Doctor en Música por la Universidad de Yale, miembro de la Academia Brasileira de Música, de la Facultad de Ciencias Artes Musicales de la Universidad de Chile y de la Academia de Artes y Ciencias de Boston. Sus restos yacen en la capital de Suiza, en el Cementerio de los Reyes, a pocos metros de otro célebre artista argentino: Jorge Luis Borges. Recordamos a Ginastera a través de un informe especial elaborado por el Área de Contenidos y conservado en el Archivo Histórico de Radio Nacional. MUSICA Danza de los trabajadores agrícolas del Ballet 'Estancia', Op. 8 - 4.- (Alberto Ginastera) Juego de las deidades del agua de Panambi (Alberto Ginastera) Danza de Impresiones de la Puna (Alberto Ginastera) Lamentaciones de Jeremías Profeta “O vos Omens Qui Transitis Per Viam” (Alberto Ginastera) Quena de Impresiones de la Puna (Alberto Ginastera) Danza de los Guerreros de Panambi,  Op 1 (Alberto Ginastera) Sonata Op 47 (Alberto Ginastera) Danza final -Malambo del Ballet 'Estancia', Op. 8 - 4.- (Alberto Ginastera) EDICION Fabián Panizzi  

Un día como hoy, 11 de Abril: Acontece: 1944: en Nueva York, se interpreta por primera vez completo El amor brujo de Manuel de Falla Nace: 1749: Adélaïde Labille-Guiard, pintora francesa (f. 1803). 1772: Manuel José Quintana, escritor español (f. 1857). 1884: León Felipe, poeta español (f. 1968). 1900: Sándor Márai, escritor húngaro (f. 1989). 1916: Alberto Ginastera, compositor argentino (f. 1983). Una producción de Sala Prisma Podcast. 2022

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Het is vrijdag vandaag en daarom klinkt de laatste aflevering met het thema ‘vrede'. Ab nodigt je uit samen te luisteren naar "Triste" uit de Cinco Canciones Populares Argentinas van de Argentijnse componist Alberto Ginastera. 

Francesca Anderegg and Matthew McCright — Brave New Worlds: Music from the Americas (Proper Canary) Jump to giveaway form   New Classical Tracks - Francesca Anderegg by “I had carpal tunnel syndrome, so playing through the piece was really hard. Actually, some pieces we had to record in sections because I just physically couldn't play through it and have pictures of recording it,” said violinist Francesca Anderegg about recording sessions with pianist Matthew McCright. “I had bandages on my wrists. I almost couldn't do it.” She developed carpal tunnel syndrome due to her pregnancy. Fortunately, her wrists are now back to normal and all of her hard work you'll hear on her new recording, Brave New Worlds: Music of the Americas.  Can you talk about the broken social barriers and international connections the composers on this album made? “Many of these pieces were written when there was great interest in Pan-American, or a collaboration between North and South America. “Not all these composers were related to each other necessarily. I just had this idea about reaching out beyond a limited sphere and expanding your reach internationally or socially. It was this idea of expansion.” Can you talk about Alberto Ginastera's Pampeana No. 1 and how it reflects the style of his homeland? “Pampeana No. 1 is the first of a set of pieces written for various instruments. It is influenced by the Pampas, the grasslands of western Argentina. It's meant to evoke this idea of spaciousness in the music, and you can hear that in the first phrase. The violin has this soaring free rhapsodic line.” Why does this arrangement of Aaron Copeland's Duo for Violin and Piano have a special place in your heart? “My teacher, Robert Mann, had a sense of humor. When I look at this arrangement and some of the chords, especially the chords in the first movement, there's a series of three chords that sound like the last part of the piece followed by silence. Then, like nothing happened, there's another louder one followed by another even louder chord. Those chords are so true to what I knew of his sense of humor. He enjoyed music that was sometimes abrupt, a little bit funny or had a punchy quality to it. I also enjoy music when it's a little bit unexpected.” Do you think that Amy Beach's Violin Sonata would have entered the recital repertoire if it had been composed by a Central European male? “I can certainly see that, but I don't want to elevate Amy Beach by saying, ‘Oh, it's so similar to Brahms.' Being so familiar with the Brahms violin sonatas, I see a lot of commonalities there. But, Amy Beach's is technically difficult for the violin. She will just take the whole line and put it two octaves higher. “At the very end of the third movement there's a section where the whole pitch range of the piece goes higher and higher. It evaporates into a twilight texture. You have a sense that the piece is going on forever. It's a magical phrase that has many striking and deep moments.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Francesca Anderegg and Matthew McCright — Brave New Worlds: Music from the Americas (Amazon Digital) Francesca Anderegg (official site)

Salome Cavegn ed Andriy Dragan sco era Emanuel Heitz ed Alena Sojer èn las interpretas ed ils interprets da musica da chombra. Salome Cavegn (mezzosopranista) ed Andriy Dragan (clavazin) han dà in concert en l'Archiv statal dal Grischun a chaschun da la «Sonda lunga» a Cuira. Els han interpretà ovras dad Armon Cantieni e Duri Sialm.  Emanuel Heitz (tenor) ed Alena Sojer (clavazin) han preschentà a lur concert en sala dacultura a Trun (Cun ART festival musical) ovras da Franz Schubert, Samuel Barber ed Alberto Ginastera.

En esta última emisión del año del centenario, se repasaron algunos hechos trascendentes en la historia de Astor y se reproduce una entrevista en la que el propio Piazzolla cuenta sus primeros pasos en el estudio formal de la música junto a Alberto Ginastera y su llegada a París para completar sus estudios con Nadia Boulanger donde se consolida como músico de tango por sobre la música clásica que intentaba llevar adelante.  

En 2021 se cumplió el centenario del nacimiento de Astor Piazzolla, el gran referente del tango en el siglo XXI, aunque para lograrlo tuvo que pasar por todo tipo de dificultades e, incluso, ser duramente criticado por los puristas. Aunque vino al mundo en Mar de Plata, Argentina, vivió su infancia y primera adolescencia en Nueva York. Su familia, siendo él muy niño, se mudó a Estados Unidos en busca de las oportunidades que no tenía en su país. En esa ciudad cosmopolita y excitante, viviendo una vida de inmigrante, el pequeño Astor desarrollará una personalidad luchadora que será clave para entender su carrera artística. Allí en Nueva York, su padre le comprará su primer bandoneón, aunque su relación con el tango será permanente. Es también en la Gran Manzana neoyorquina donde conoce a Carlos Gardel, ya una estrella mundial, quien ya supo reconocer la valía de ese niño impetuoso y decidido, y, con apenas doce años, empezó a tocar con él. La historia de amor de Piazzolla con el tango se terminará de sellar cuando regrese, con su padre y su madre, a Argentina a finales de los años 30. Muy pronto entrará a trabajar en la mejor orquesta típica de tango de todos los tiempos, la de Aníbal Troilo. Y, casi al mismo tiempo, estudiará con el gran referente de la música clásica contemporánea argentina, Alberto Ginastera. Piazzolla terminará por definir una personalidad artística ecléctica, que abarcará desde la música clásica hasta el jazz, el rock, el funk o la música electrónica. Personalidad que proyectará, de forma genial y apasionada, hacia la renovación del universo tanguero. De ahí en adelante, su vida musical será una montaña rusa constante, al borde del desastre económico y siendo incomprendido por su actitud rupturista y revolucionaria. Gracias a tangos inmortales como Adiós Nonino, Balada para un loco o Las cuatro estaciones porteñas, entre otros muchos, Piazzolla conquistará el reconocimiento del mundo, primero, y su país, después. Hecho que cristalizó en el famoso concierto del Teatro Colón de Buenos Aires de 1983, el verdadero símbolo de su triunfo sobre lo que consideraba tradición mal entendida. Astor Piazzolla, un hombre a la contra, con guión de José Manuel Sebastián, cuenta con la voz del propio Astor Piazzolla, que repasa los momentos más importantes de su vida. Asimismo, nos descubren su arrolladora personalidad su nieto Daniel “Pipi” Piazzolla, brillante baterista de jazz; y Claudio Constantini, un músico piazzolliano químicamente puro, bandoneonista y pianista clásico. Escuchar audio

Blissful Hiker goes on her first high-altitude hike since her rescue and shoots for an SKT* on the Teton Crest Trail. *Slowest Known TimeIn this episode:It's an easy-ish trail only 45 miles or so of jagged peaks, crystalline lakes and spectacular passes all in wilderness. She goes in the opposite direction of most, hitting huge climbs of 3,000 feet right from the start up Paintbrush Canyon. Everyone she meets is happy and renews her love of hiking and hikers, even a group of partiers who promise to be quiet.Her first site is glorious in a bowl of rock and ice where a bear wanders past. It's steep up and over the crumbly rock of the Divide and down to Lake Solitude. The ranger advised her on the best sites, and she grabs one on a grassy moraine looking straight at the Grand Teton.This site has its own resident moose who seems more interested in bulking up on grasses and aquatics than her. MUSIC: Poema del Pastor Coya by  Angel Lasala and Impresiones de la Puna by Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

JoAnn Falletta & the Buffalo Philharmonic Orchestra — The Four Seasons / The Four Seasons of Buenos Aires (Beau Fleuve) Jump to giveaway form When the Buffalo Philharmonic Orchestra took the stage for their season opening concert last September, there was no audience in the hall due to the pandemic. Their loyal fans were watching the concert online.  Conductor JoAnn Falletta had to switch gears quickly. “Initially, we had a very big concert, and we pull out all the stops when we give our opening,” she said. “But, of course, that was not possible. We decided that the most thrilling thing we could do for our audience was to feature Nikki Chooi, our new concertmaster, performing The Four Seasons.” That performance is featured on their latest recording, The Four Seasons / The Four Seasons of Buenos Aires. Why was it important to include The Four Seasons?  “It had to do with Chooi's performance of it, which was thrilling. He puts his own 21st-century voice into it. He was reveling, seeing a sense of humor and loving the music. But, he was not burdened by past performances. He was playing from his heart. “This piece was written almost 300 years ago, and it is still relevant. The coming alive in the spring, the voices of the birds, the summer thunderstorms and the drinking wine is affirming to us about how we understand Antonio Vivaldi. We felt that we had a connection with that music, because it gave us a feeling that life would go on. We can get through this.” What made guest violinist Tessa Lark a good fit for Astor Piazzolla's The Four Seasons of Buenos Aires? “It's about the composer's background. Piazzolla's family were immigrants who moved to Argentina from Italy. He also grew up in Harlem during the jazz era. He studied with Alberto Ginastera and went to Paris to study with Nadia Boulanger. Piazzolla is a complex prism of music, and Lark is the same. “She not only plays classical, but she also plays bluegrass and jazz. Her loose and comfortable approach to playing Piazzolla made it really swing. “The composer said the tango is a sad feeling disguised as a dance. He knew it was the music of immigrants and poor people who knew they would never go home again. But in the tango, they found their soul. They found a way of understanding themselves. Piazzolla knew the sad core of the tango, and Lark was able to bring that to life.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources JoAnn Falletta & the Buffalo Philharmonic Orchestra — The Four Seasons / The Four Seasons of Buenos Aires (BPO Store) JoAnn Falletta (official site)

Just as Bela Bartok gave a voice to the folk music of Hungary in the 20th century, Alberto Ginastera did the same for the music of Argentina. Many call Ginastera one of the most important South American composers of the past century.

Un Día Como Hoy 25 de Junio: Acontece: 1857: en París, el poeta Charles Baudelaire publica Las flores del mal. Nace: 1860: Gustave Charpentier, compositor francés (f. 1956). Fallece: 1767: Georg Philipp Telemann, compositor alemán (n. 1681). 1983: Alberto Ginastera, compositor argentino (n. 1916). Una Producción de Sala Prisma Podcast. 2021

In this program, you will hear the Dalí Quartet perform String Quartet no. 3 in E-flat Major (Juan Crisóstomo de Arriaga), String Quartet no. 1, op. 20 (Alberto Ginastera), Four for Tango (Astor Piazzolla), La oración del torero, op. 34 (Joaquín Turina), Puente Trans-Arábico (Ricardo Lorenz), Camerata en Guaguancó (Guido López-Gavilán), Rico Melao: Preludio, Danzón y Cha-cha-chá * (Jorge Mazón). The Dalí Quartet brings its signature mix of Latin American, classical, and romantic repertoire to stages and audiences of all kinds. The musicians' passionate energy is poured into everything they do, generating critical and audience acclaim. Their tours include appearances at distinguished chamber music and cultural centers in the United States, Canada, and South America. This concert was held at the National Gallery of Art on Sunday, October 15, 2017.

When singer/songwriter/educator Roxana Amed moved from her home in Argentina to the United States, she didn’t walk. But she might as well have. She describes her new record as being like “a bag full of songs and memories” that she collected on her way from one shore to another. She seems to stand with one foot wading in the waters of the Hudson River and the other in the Rio de la Plata.  When she left Buenos Aires, she was leaving with an already established career as both a singer and songwriter, having collaborated with many of Argentina’s most celebrated artists in both worlds. And when she arrived in America, she began to blow in the wind, like a tumbleweed. So it should come as no surprise that the first track on her new album Ontology is called ”Tumbleweed.” When Roxana moved to America, she went to Miami, where one might think she fit in perfectly because of her Spanish speaking roots, but in fact in some ways she has felt like more of a stranger there than she would in New York, or Paris, or anywhere else for that matter.  Then again, maybe she would feel that way wherever she went, because she’s not really any one kind of artist, she’s not really sure where she or her music belong - maybe it’s somewhere along that long and winding road from Argentina to America. It’s that classic paradox when you belong to no-one, you’re available to all, when you belong nowhere, you’re always in the right place.  She is inclined to follow an arrangement of a Miles Davis song with something by Argentine composer Alberto Ginastera, or to adapt a Piazzolla tango piece in a jazz quartet, but then sing Cindy Lauper as Argentine folk music.  Roxana Amed is an eternal student - she’s constantly thinking about her craft, working on it, contemplating it. Maybe that’s what makes her such a celebrated teacher. We spoke recently about her new record, and about the ongoing relationship and conversation between artist and audience. She says, “Art is not there to make you comfortable. You have to be surprised. You have to be challenged.” We talked about surrendering yourself to your art, about how and why different languages swing, about authenticity and freedom in music, and how the soul of America is black, and we talked about Argentina, Argentine music and identity. www.third-story.com www.patreon.com/thirdstorypodcast www.roxana-amed.com

Un día como hoy, 11 de Abril: Acontece: 1944: en Nueva York, se interpreta por primera vez completo El amor brujo de Manuel de Falla Nace: 1749: Adélaïde Labille-Guiard, pintora francesa (f. 1803). 1772: Manuel José Quintana, escritor español (f. 1857). 1884: León Felipe, poeta español (f. 1968). 1900: Sándor Márai, escritor húngaro (f. 1989). 1916: Alberto Ginastera, compositor argentino (f. 1983). Una producción de Sala Prisma Podcast. 2021

El pianista venezolano Javier Rameix visitó el programa "Letras y corcheas", conducido por Mario y Hernán Dobry, el jueves 1 de abril de 2021, para conversar sobre su trayectoria en el mundo de la música y sobre su último álbum Impressões, con obras de Alberto Ginastera, Heitor Villa-Lobos, Moisés Moleiro, Evencio Castellanos y Heráctlito Fernández.

Une lignée autour du "Tango Nuevo" avec PIAZZOLA, GALIANO ET Félicien BRUT sans oublier Alberto GINASTERA le Tango de Buenos Aires à .....Argenton/Creuse, au Festival DEBUSSY.

Une lignée autour du "Tango Nuevo" avec PIAZZOLA, GALIANO ET Félicien BRUT sans oublier Alberto GINASTERA le Tango de Buenos Aires à .....Argenton/Creuse, au Festival DEBUSSY.

Bandoneonista y compositor, nació en Mar del Plata el 11 de marzo de 1921, provincia de Buenos Aires. Su contacto con la música se inició en Nueva York, donde su familia vivió entre 1925 y 1936, ya que a los ocho años su padre le regaló el primer bandoneón. En 1933, estudió música con el pianista húngaro Bela Wilda, quien lo introdujo en el universo sonoro de Bach, y un año después, conoció a Carlos Gardel con quien entabló una relación amistosa. En 1936, su familia volvió a Mar del Plata, y Astor participó en varios conjuntos y conoció la obra del sexteto de Elvino Vardaro, que lo influenció de forma definitiva. Decidido a explorar el tango, se mudó a Buenos Aires a los diecisiete años y, al poco tiempo, consiguió su objetivo: ingresar en la orquesta de Aníbal Troilo, primero como bandoneonista de fila y ocasional pianista y, luego, convertido en arreglador de la orquesta. Continuó sus estudios de música académica con Alberto Ginastera y, de piano, con Raúl Spivak. Sus arreglos lo alejaron cada vez más del tango clásico y, en 1944, abandonó la Orquesta de Troilo para dirigir la orquesta que acompañó al cantante Francisco Fiorentino hasta 1946, cuando compuso El desbande, considerado por él mismo su primer tango con una estructura formal diferente. Entre 1950 y 1954, compuso obras claramente distintas de la concepción del tango hasta ese momento entre las que podemos mencionar Para lucirse, Tanguango, Prepárense, Contrabajeando, Triunfal, Lo que vendrá. En esa época, escribió piezas de música culta como Buenos Aires, tres movimientos sinfónicos por la cual ganó el Premio Fabien Sevitzky. Acompañamos el registro de la revista Programas, de Radio del Estado, que da cuenta de aquel concurso. Por dicho premio, el Gobierno francés le otorgó una beca para estudiar en París con la famosa pedagoga musical Nadia Boulanger, quien lo convenció de que persistiera en el camino del tango. THE HAGUE, HOLLAND - JULY 12: Astor Piazzolla performs live on stage at The North Sea Jazz Festival in The Hague, Holland on July 12 1985 (Photo by Paul Bergen/Redferns) La beca duró casi un año y, en ese tiempo, formó una orquesta de cuerdas junto a los músicos de la Ópera de París Martial Solal y Lalo Schifrin. Con Schirfrin, grabó Two Argentinians in Paris (1955). A su regreso a la Argentina, convocó a músicos de primera línea y formó el Octeto Buenos Aires. Cuando murió su padre, en 1959, compuso en su homenaje acaso su obra más bella: Adiós, Nonino. Formó el Conjunto Electrónico, grabó Libertango y experimentó su aproximación al jazz-rock. En 1976, se presentó en el teatro Gran Rex con su obra 500 Motivaciones; y, en 1977, con una serie de conciertos en el Olympia de París. En 1978, volvió con su Quinteto y consolidó su fama internacional con giras por Europa, Sudamérica, Estados Unidos y Japón. En 1983, en el Teatro Colón, ofreció una programación íntegramente compuesta por él. El 4 de agosto de 1990, en París, sufrió una trombosis cerebral que lo dejó postrado y murió el 4 de julio de 1992, en Buenos Aires. Recordamos a Piazzolla con su propio testimonio reflexivo sobre la música, conservado en el Archivo Histórico de Radio Nacional.  

The Blissful Hiker meets an English ex-pat in the Tararuas  named Julian and they bond like war-buddies, but are unsure they'll connect again. In this episode:Blissful bonds with an ex-pat named Julian when they leave Waitewaewae Hut in the Tarauas  sidling the Otaki River on a nasty, muddy, and root-filled trail . It's hard to say goodbye, she walks alone the rest of the way over Mount Pukeatua, down a steep area of clear-cut, then on road to trail angel – and Julian's friend – Carol's house in Waikanae.Even after dinner, beer and a hot tub, the rain destroys her spirit and Carol's boyfriend Brent restores it with a couple of sandwiches – and coming to accept that rain – and mud and difficult trail – is all part of this thru-hike. It's easy walking on estuary and beach to Paikakariki where Julian texts and invites her to climb a mountain with him the next day to welcome the new year. MUSIC: Impresiones de la Puna by  Alberto Ginastera  as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

The Blissful Hiker takes a calculated risk to cross the glorious, but dangerous, Tararua Range all alone, the most difficult section of the Te Araroa so far,  taking advantage of a weather window.In this episode:Blissful is told at Makahika Outddoor Pursuit Centre to keep moving to get through the high, exposed Tararuas, since it will be calm and clear for two days.It's steep and muddy straight uphill to the Te Matawai Hut, but she skips it as advised and moves on all alone on top of the world atop lonely ridge tops shrouded in mist. After several gloomy but mystical goblin forests, and the summit of Pukematawai, she arrives at Dracophyllum Hut, and watched a glorious sunset. Stopped momentarily by tachycardia, she finally climbs to the summit of Mount Crawford, the highest point on the trail in this range. It's a long, muddy descent to the Waitewaewae Hut, where Blissful meets hiker friends and is grateful for a day that felt like flying on clouds.MUSIC: Impresiones de la Puna by  Alberto Ginastera  and Pastorale Calchaqui by Hector Gallac as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

On day 59 of hiking the Te Araroa, the Blissful Hiker gets in touch with her inner brave spirit and gets more comfortable hiking her own hike.In this episode:Blissful leaves the Tasman Sea on concrete-hard black sand of Koitiata Beach and meets a Kiwi section-hiker who tells her the uneven and difficult trail standard is part of the challenge. It's road walk from Mount Lees Reserve to Palmerston North and Blissful carries the title of "purist" with pride as she walks every step. Her friend and fellow tramper Robb invites her to share Christmas with his family and "slackpack" to Kahuterawa rather than camp in the rain. The trail is muddy and steep and Blissful negotiates crossing a swollen river and avoids getting swept away by a landslip.The owners at Makahika Outdoor Pursuits feed her dinner and Blissful realizes she has managed some tough spots on her own. MUSIC: Impresiones de la Puna by  Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

The Blissful Hiker completes the "thru-canoe" section of the Te Araroa on the Whanganui River, and meets "Guardian" Trail Angels before she returns to the Tasman Sea.In this episode:Blissful and her paddle partner Andrew leave Hipango Park for one final day on the winding chocolate-colored Whanganui River toward the Holiday Park and a short walk to town.On her own, Blissful heads to meet a trail angel named George who offers a room for the night. His partner Rob shares a whakatau, a Maori greeting. After a big Kiwi-style English braeakfast, George starts the trail with Blissful. It's road-walk all the way to Koitiata and there's no such thing as "share the road" in New Zealand.  She picks up a lolly cake at Turakina Antiques and is invited by a trail angel for a snack and conversation before meeting the Tasman Sea again after 50 days of walking. The sunset is glorious and Blissful has it all to herself, but knows she is not entirely alone because people are looking out for her. MUSIC: Impresiones de la Puna by  Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

The Blissful Hiker continues the section of the Te Araroa on the Whanganui River, learning that aiming your canoe – and life – straight into the V of rapids can give you a renewed sense of power and agency. In this episode:Blissful heads into the rapids on the Whanganui and her partner Andrew teaches her to ignore her intuition and head straight into the bubbling caldron – and never stop paddling. They lean in, knees against the gunwales, thwacking and bumping through as the water drenches them in a kind of baptism. Andrew empties 26 gallons of water, then another 15 in the next set, but they never tip. They stay all alone at the the quirky Flying Fox Retreat with some loud birds. There's no more rapids and it's a long, soggy day to Hipango Park where they camp high up on a bluff. Blissful realizes she may never see Andrew again after this shared journey, but thinks if this lovely partner can show up out of nowhere, so can others. MUSIC: Impresiones de la Puna by  Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, pianoSupport the show (https://www.patreon.com/blissfulhiker)

The Blissful Hiker begins the section of the Te Araroa on the Whanganui River, a body of water precious and deeply spiritual to the Maori.In this episode:Blissful begins paddling the Whanganui with her partner Andrew as captain, a young American exactly thirty years younger, who takes charge of steering.After a quick lesson, they're off mostly on placid water reflecting the clouds and cliffs dotted with waterfalls. At the John Coull Hut, she camps outside and watches rare pekapeka, short-tailed bats, the only endemic mammals to New Zealand.They take a break from paddling to visit the Bridge to Nowhere, built with high hopes o bring prosperity to the region, though no roads were ever built to it. The seven-year-old daughter, Maddy, welcomes them to Tieke Kainga, as the kaikaranga or caller in a powhiri to the Maori community, then gives her a pakohe , a healping stone, which Blissful carries on every hike thereafter. MUSIC: Impresiones de la Puna by  Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, piano***You can win a pair of Balega Socks! Like and share The Pee Rag on Facebook and you'll be automatically entered to win.***Support the show (https://www.patreon.com/blissfulhiker)

Heitor Villa-Lobos, Carlos Chávez, and Alberto Ginastera are at the prow of the Latin American music ship. On this episode of Fiesta, we go beyond those giants and feature other Latin American composers that you should know! The post Latin American Composers You SHOULD Know! appeared first on WFMT.

Celebrated composer and pianist Leonardo Le San has had a distinguished career of premiers, performances, awards, and citations in newspapers, magazines, and television as well as artist recordings.Leonardo Le San made his Carnegie Hall debut in New York City in 2010. There he performed the world premiere of his Suite for Piano, The Voices of My Town, as well as interpreted works by Beethoven, Chopin, Liszt and Prokofiev. The Epoch Times recommended Le San's concert as one of the newspaper's "NYC Event Picks." In the same year, Leonardo was awarded the "EL Award" for his contributions to arts and culture in the New York Tri-state area. Le San has performed as composer and pianist at The White House, The Harvard Musical Association, The Merkin Hall, The Gershwin Theater in NYC. New Music of the Americas Album  With works by Mauricio Charbonnier, Leonardo Le San, Astor Piazzolla, Carlos Guastavino, and Alberto Ginastera, the album proposes a description of the aesthetics, languages , and rhythms of the American Region, especially Argentina. This album frames the first record release of the New Music of the Americas project, titled with the same name. It includes a repertoire of chamber and vocal works created by renowned Argentine composers of the 20th century and also with new works by living composers. In its content, the album proposes a series of pieces whose musical writing has a marked romantic content, simplicity, clarity in the formal, and a particular interest in melodic beauty. The CD is available in digital format and free on all online platforms.

Volvieron los especiales!!!En ésta oportunidad nos centramos en Emerson, Lake & Palmer, banda británica de rock progresivo que se formó de Londres en 1970 por el tecladista Keith Emerson; el bajista, guitarrista y cantante Greg Lake y el baterista Carl Palmer. En poco tiempo el trío se convirtió en uno de los nombres más significativos y de mayor éxito comercial del rock progresivo, una verdadera sorpresa y proeza para éste estilo musical no aptos para simplistas. Sus composiciones se caracterizan por fusionar en muchos casos rock con música clásica, adaptando obras de Alberto Ginastera, Béla Bartók o Aaron Copland. Las espectaculares presentaciones y el virtuosismo interpretativo del trío los ha colocado a la altura de las grandes bandas de su época, continuando su legado hasta nuestros días, claramente están entre los grandes pioneros del rock progresivo y su música se ha mantenido como un referente del género. En ésta emisión recorremos una pequeña parte de la discografía de este supergrupo ya que es imposible en tan escaso tiempo abarcar la totalidad de su obra, prepárense para un viaje por los insondables caminos de la fusión.-

En este episodio de Plaza 1110 recorremos la vida y la obra del compositor argentino Alberto Ginastera a través de sus composiciones más importantes. Su música, reconocida e interpretada en todo el mundo, nos lleva a mundos imaginarios y a una danza sin final. Además hablamos con Selva Santesteban, profesora de piano de la Escuela de Música 8 y su alumno Gaspar Casaburri. Ambos forman parte de la Mega orquesta de las Escuelas de Música dependientes del Ministerio de Educación de la Ciudad de Buenos Aires. Y como siempre: María Elena Walsh,las voces de los chicos, la adivinanza sonora y nuestra sección de música con objetos para seguir jugando y aprendiendo juntos con Maga y Martín.

Slogging through epic mud in the New Zealand bush, the Blissful Hiker learns about plunging straight through difficult passages, never making assumptions and always looking for the beauty around her. In this episode:On only day 5, the Blissful Hiker cheats and allows her friend of a friend of a friend Peter to drive her past the road walk section. She enters real New Zealand bush, the Raetea Forest, which begins easily, but then plunges her straight into epic mud.She hears the R2D2 squawk song of a Tui for the first time She gets lost for a moment, but soon finds a wide grassy part of the trail to set her tent.She learns about plunging straight through difficult passages, never making assumptions and always looking for the beauty around her. MUSIC: Impresiones de la Puna by Alberto Ginastera as played by Alison Young, flute and Vicki Seldon, pianoavailable on iTunesDoes it count if cheating wasn't my idea? Peter wonders if I'd “betray the mission” by having him drive me to the next town because the Te Araroa Trust had to divert the trail due to Kauri dieback. The Ninety Mile Beach felt deserted, remote and lonely, and it's not an understatement to say I feel culture shock pulling into the massive parking lot of an equally massive box store called Pak'nSav to pick up a few items for the coming days. We bump and lurch up the Takahue Saddle Road to the Mangamuka Route. The air is cool and fresh, the smell so different now – sweetly pungent, earthy and moist. But then he points to my left, to a tiny opening in the thick foliage. That's the way? In there? It's a trail about a meter wide aggressively cutting up the mountain now; straight up.  The mud is thick and sticky, wet and slippery. Roots crisscross the path and I learn quickly not to try and balance on them as a means to avoid the mud, because they're worse than the mud, greasy and unstable. Irene and I are quiet in our thoughts and then she says, “A tui!” I hear a few bell-like sounds amidst clicks, cackles, creaks, groans and wheezes more like R2D2 than any bird I'd ever heard. I learn later tuis can sound like two birds because of their bifurcated sound-producing organ called a syrinx.  The afternoon gives way and the light begins to change, warming to a deep orange the tall Rimu covered in Dr. Seussian epicytes and long, black tendrilly, supplejack. A wooden sign points to Makene Road one way and TA SOBO (or southbound) the other with the encouraging words, “Only 2,850 kilometers to go!”What about this day, I think. What has it taught me? To just plow through the tough stuff and not care if you get dirty. To never assume and to look and listen for all the beauty around you, even if you're tired and uncertain you'll find a flat place to camp. That's the wonder of hiking, that you really, truly have to let go – of expectations, of being hard on yourself, of having to do things in the right way because sometimes the day just gets away from you and you have to improvise. Support the show (https://www.patreon.com/blissfulhiker)

Indiana University Professor and international prize-winning pianist Roberto Plano traces his personal journey through music as he performs music from Europe and the Americas on this podcast. Featured are two opera transcriptions, including a very rarely heard adaptation by Chopin of Bellini's beloved aria, "Casta diva," from Norma. Also on the program: two works of Argentinian composer Alberto Ginastera. The performances were originally given on March 2, 2020 at the Vanderbilt Presbyterian Church in Naples, Florida. Mark Travis is your host.

Nesta semana, a Osesp – sob regência do maestro Carlos Miguel Prieto – recebe o harpista Xavier de Maistre para interpretar o "Concerto para Harpa", escrito pelo compositor argentino Alberto Ginastera. Escute o Minuto Osesp sobre a obra. A Osesp, em parceria com a rádio CBN, veiculou o Minuto Osesp, uma breve narrativa sobre alguma obra que a Orquestra irá interpretar na semana, na Sala São Paulo, ilustrada por trechos musicais. Essa é mais uma iniciativa da Fundação Osesp para colocar a música clássica perto de você. Roteiro e voz: Isabela Pulfer

José Nun dialoga con la prestigiosa compositora de música contemporánea Alicia Terzián y con el abogado especialista en derecho internacional  Federico Gaitán Hairabedián. El camino musical de Terzián de la mano de Alberto Ginastera, sus primeras composiciones, la música contemporánea, su acercamiento a la música armenia,el genocidio armenio a principios del siglo veinte, la lucha de la comunidad armenia en el país y el fallo histórico de la Justicia argentina  son los temas abordados en este programa.  

Conheçam os recém-doutores do Programa de Pós-Graduação em Estudos da Tradução, suas trajetórias de pesquisa e seus planos de carreira. Música: "Suite de Danzas Criollas", de Alberto Ginastera. Piano: Alberto Heller Criação da logomarca: Sérgio Medeiros (PGET) Organizadoras: Andréia Guerini (PGET) Clélia Mello (PGET) Dirce Waltrick do Amarante (PGET) Fernanda Christmann (PGET) Ingrid Bignardi (PGET)

Con Mario Mora y Ana Laura Iglesias | última batalla musical de la temporada dedicada dos de los más grandes compositores americanos: Astor Piazzolla y Alberto Ginastera. Descubre el fascinante estilo de estos dos argentinos que desarrollaron lenguajes muy distintos, uno entorno al tango y otro a través de la modernidad, pero en ambos casos sin perder de vista el folclore, los gauchos y la Pampa de su amada tierra, Argentina. ¡Un Duelo fascinante!

Con Mario Mora y Ana Laura Iglesias | última batalla musical de la temporada dedicada dos de los más grandes compositores americanos: Astor Piazzolla y Alberto Ginastera. Descubre el fascinante estilo de estos dos argentinos que desarrollaron lenguajes muy distintos, uno entorno al tango y otro a través de la modernidad, pero en ambos casos sin perder de vista el folclore, los gauchos y la Pampa de su amada tierra, Argentina. ¡Un Duelo fascinante!

Se realizó el segundo concierto del Ciclo de Conciertos para Piano organizado por la Lic. en Música UNTREF. Allí estuvo Estación UNTREF transmitiendo en vivo a través de de estacionuntref.com desde el auditorio de Caseros II. La noche del 26 de agosto se vistió de gala para recibir al pianista Marcelo Balat quién nos deleito con un repertorio con obras de Frederic Chopin y Alberto Ginastera. ¿No lo pudiste escuchar en vivo? ¡Dale play!

Se realizó el segundo concierto del Ciclo de Conciertos para Piano organizado por la Lic. en Música UNTREF. Allí estuvo Estación UNTREF transmitiendo en vivo a través de de estacionuntref.com desde el auditorio de Caseros II. La noche del 26 de agosto se vistió de gala para recibir al pianista Marcelo Balat quién nos deleito con un repertorio con obras de Frederic Chopin y Alberto Ginastera. ¿No lo pudiste escuchar en vivo? ¡Dale play!

Alberto Ginastera, raccontato da Luigi Abbate

Donald Macleod explores the life and music of the bandoneon virtuoso and composer Astor Piazzolla, through five key locations. All his life he fought against the tide, and in the end, he was the victor. Astor Piazzolla was a rebel with a cause. A virtuoso bandoneon player and a composer, he set out to break tango free from its roots, and make it a music with a future far beyond the dance halls and cafes of 1950s Buenos Aires. Hits like “Libertango” and collaborations with jazz giants like Gary Burton and Gerry Mulligan made his name beyond the tango world, while his classical compositions brought his instrument, the bandoneon critical acclaim in the concert hall. The secrets of musical technique came, he said, from his studies with French pedagogue, Nadia Boulanger and Argentinian composer, Alberto Ginastera but they also came from his teenage experiences in Buenos Aires, the city where had played bandoneon and arranged music for Anibal Troilo’s famous tango band. Across the week Donald Macleod traces Astor Piazzolla’s life through the places which played an important part in his musical development: New York, Buenos Aires, Paris, Rome and the Uraguayan resort of Punta del Este. Music featured: Tanguedia Tres minutos con la Realidad Piano sonata No 1, Op 7 Sideral Requiem para un Malandra Adios nonino Concierto para quinteto Buenos Aires hora cera (Buenos Aires zero hour) El desbande Tiernamente El recodo Histoire du Tango for flute and guitar Balada para mi muerte Sinfonía Buenos Aires, Op 15 Otoño porteño Two pieces for clarinet and string orchestra Triunfal Prepárense Tangos, El Exilio de Gardel (excerpts from the original soundtrack) Mumuki Michelangelo 70 Amelitango Maria de Buenos Aires (excerpt) Summit Close your eyes and listen 3 Movimientos Tanguisticos Portenos Tristezas de un Doble A Jeanne y Paul Resurreccion del Angel Concerto for bandoneon, string orchestra & percussion Le Grand Tango La Camorra II Five Tango Sensations Libertango Presented by Donald Macleod Produced by Johannah Smith for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Astor Piazzolla https://www.bbc.co.uk/programmes/m0003c6f And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

En el capítulo de hoy: Astor Piazzolla, sus primeros años. Cómo comenzó su historia dentro del tango y cuánto tiempo pasó hasta que sintió que el género no lo dejaba expandirse. Cuáles eran sus procedimientos musicales para dejar su sello aún en composiciones de otros autores, sus influencias y cómo fue creciendo con los estudios que curso con Alberto Ginastera. ¿Por qué se cansó del bandoneón? ¿Fue acaso eso lo que le salvó la vida como músico? La génesis de uno de los mejores tres músicos jamás nacidos en este país, en apenas una hora.

Astor PIAZZOLA, Alberto GINASTERA, Elsa JUSTEL, Beatrisz FERREIRA, Horacio VAGGIONE, Ricardo MANDOLINI.... pour conclure avec le "Tango Nuevo" de PIAZZOLA

Para conmemorar el 101 aniversario del natalicio del compositor Alberto Ginastera (1916-1983), el Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez del Instituto Nacional de Bellas Artes, en colaboración con el Centro Nacional de las Artes realizó una serie de actividades que recordarán al célebre compositor argentino. Este recital presenta música para piano de distintos compositores nacionalistas de Argentina, con especial énfasis en las obras de Alberto Ginastera, considerado como uno de los autores más destacados e importantes de su país. Presentación grabada el 22 de abril de 2017 en el Auditorio Blas Galindo del Centro Nacional de las Artes (CENART). Ciudad de México.

Werke von Manuel María Ponce, Gabriel Fauré, Alberto Ginastera, Claude Debussy; Heitor Villa-Lobosm, Camille Saint-Saëns, Maurice Ravel; Astor Piazzolla; Manuel María Ponce und Jules Massenet | Lionel Cottet (Violoncello) | Jorge Viladoms (Klavier)

Escapando a la tendencia eurocentrista, a finales del siglo XIX compositores de varios países comenzaron a investigar y crear música a partir de elementos folklóricos de cada uno de sus países.  El Maestro G, Nicolás Guerschberg, le trae a Pipi Piazzolla en Ángulos la historia de este movimiento y ejemplos musicales de Béla Bartok y Alberto Ginastera.

9 min.

Star harpist Yolanda Kondonassis celebrates the centennial of Argentine composer Alberto Ginastera's birth with a new album, Ginastera: One Hundred. The recording features guest appearances by the violin/piano duo of Gil and Orli Shaham plus guitarist Jason Vieaux, as well as a centerpiece of Yolanda's repertoire over the years, Ginastera's Harp Concerto.

Pianist Valarie Valois joins WDAV in the John Clark Performance Studio to perform selected works, including Danza de la moza donosa by Alberto Ginastera and Forest Murmurs by Franz Liszt. In addition, Dr. Valois will chat with Frank Dominguez about music and her career, which includes local and international performances, music education, and serving as the church musician for St. Michael the Archangel Church in Matthews, NC.

Feb. 20, 2016. Conductor Harry Christophers and composer Gabriela Lena Frank discuss the bicentennial of the Handel and Haydn Society, as well as Frank's Library of Congress co-commission, "My Angel, His Name Is Freedom." Speaker Biography: Harry Christophers CBE is the artistic director of the Handel and Haydn Society, one of the preeminent American period instrumental and vocal ensembles. He is also founder and conductor of the British vocal ensemble The Sixteen and a frequent guest conductor for orchestras, vocal ensembles and opera around the world. Speaker Biography: American composer Gabriela Lena Frank was born in Berkeley, California to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartok and Alberto Ginastera, has travelled extensively throughout South America, and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology and native musical styles into a western classical framework that is uniquely her own. She writes challenging idiomatic parts for solo instrumentalists, vocalists, chamber ensembles and orchestras. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7298

Jorge Francisco Isidoro Luis Borges Acevedo murió en Ginebra el 14 de junio de 1986, a los 86 años, acompañado por quien fuera su alumna, colaboradora y segunda esposa, María Kodama. Sus restos descansan en el cementerio de Plainpalais, allí también se encuentra la tumba del compositor Alberto Ginastera. Con la ciudad suiza mantuvo, según contó, una relación de amor desde cuando llegó junto a su familia en 1914 durante un travesía europea, se quedó para cursar el bachillerato en el colegio Calvino y más tarde encontró en la residencia de Vieille Ville uno de sus lugares en el mundo. Sin embargo su ciudad argentina natal inspira el fervor, los confines, las orillas, los arrabales, la mitología, recurrencias de una obra cosmopolita inmortal, cuentos, poemas, ensayos, guiones, letras de tangos y milongas. “La juzgo tan eterna como el agua y el aire”, escribe en el tributo. “Yo camino por Buenos Aires y me demoro, acaso ya mecánicamente, para mirar el arco de un zaguán y la puerta cancel; de Borges tengo noticias por el correo y veo su nombre en una terna de profesores o en un diccionario biográfico”, expresa el poema “Borges y Yo”. Su voz omnipresente en las lecturas y en sus definiciones, a veces polémicas, protagoniza “El laberinto universal”, producción especial de Contenidos, Radio Nacional. Numerosas actividades se desarrollan en la semana borgeana, en especial el mismo martes del aniversario. Instalación lumínica en Diagonal Norte y Cerrito, galería de fotos de Amanda Ortega en el Teatro Colón. El gobierno porteño y la Fundación Internacional Jorge Luis Borges descubren una placa en su memoria en la casa de Anchorena 1660, que exhibe su biblioteca, las primeras ediciones de sus libros y algunos manuscritos, así como su colección de bastones, cuadros, talismanes, premios, condecoraciones y diplomas. La Usina del Arte programa el espectáculo “Borges x Borges/ Aznar” (Jorge Luis, Graciela y Pedro), además de la muestra “Fotografía y Amistad – Borges en el archivo de Bioy”. La Fundación El Libro, que le rindió homenaje en la última Feria Internacional de Buenos Aires, recibe hasta el 31 de octubre cuentos postulados para el Gran Concurso Literario Anual.  

ALBERTO GINASTERA raccontato da Helmut Failoni

Join Bernardo Miethe and Andrew Owen as they unpack information about the world of classical music. Designed for musicians and non-musicians alike, this podcast means to expand the knowledge of classical music to our listeners. On this episode we discuss the life of Alberto Ginastera and his Estancia Suite.

"Nacionalisme objectiu" El compositor argent

José Manuel Alcántara es un destacado ejecutante de guitarra mexicano egresado del Conservatorio Nacional de Música de México y del Conservatorio de Ámsterdam con Mención de Virtuosismo. Es miembro del ensamble Liminar, dedicado al repertorio contemporáneo. También forma parte de un dúo para flauta y guitarra con Willy Terrazas, enfocado a la música mexicana contemporánea. Ha sido parte del Ensamble de Música Contemporánea del Conservatorio Sweelinck de Ámsterdam, bajo la batuta de Lucas Vis Harry Sparnaay. Se ha presentado como solista con la Orquesta Sinfónica Nacional, la Orquesta de Cámara de Bellas Artes, la Filarmónica de Chihuahua, la Sinfónica del Instituto Politécnico Nacional, la Orquesta de Cámara de la Ciudad de México y la Orquesta de Cámara de San Ángel, entre muchas otras. Ha participado en festivales de Estados Unidos, Holanda, España, Portugal, Bélgica, Italia, Francia, Austria y México. En el marco del XV Encuentro Internacional de Guitarra, José Manuel Alcántara interpreta obras de Johann Sebastian Bach, Mauro Giuliani, Jorge Ritter, Wilfrido Terrazas y Alberto Ginastera.

Keyboard icon Keith Emerson discusses "The Three Fates Project", Chinese rhythm sections & the connection between Tarkus and The Godfather.

Clarinet virtuoso Jorge Montilla closed the Jewel Box season at NEIU on April 19, 2013 with a program of mostly Latin-American music. With pianist Kay Kim, Jorge played music for B-Flat clarinet on the first half of the program: works by Carlos Guastavino, Astor Piazzolla, and Arturo Marquez. After intermission, he switched to E-Flat clarinet – an instrument that is his specialty – and opened with the Second Sonata by Alfred Prinz (a work composed for him). The rest of the program held music by Guastavino, Piazzolla and Alberto Ginastera, as well as a piece for solo E-Flat clarinet by Jorge Montilla himself.