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CONCERT CANCELED

The RTVE Symphony Orchestra suspends comciertos this week, 2 and 3 December. In which I had to play the Concerto for Trombone and Orchestra by Nino Rota.
I hope to do it again next season.

Thank you all.

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Music in Time of War (2)

Haydn: Missa in tempore belli (1796)

More precise intentions and the effect was the "Missa in tempore belli (Mass in Time of War) of Haydn, written in 1796, while Napoleon advanced on Vienna, where he later was occur. Although written in C major, a key normally "carefree" and the irrepressible optimism of Haydn, the opening and closing sections are loaded with unusual fanfare of trumpets militarists (and at the same time, sacrilegious) and beating of drums. (Haydn had used a similar instrument in its earlier Symphony No. 100 in G, but in this case is looking for a simple decorative effect.) At the Mass, while the accents of the percussion and metals are isolated, they inject a dye of anxiety and despair in the final sentence relaxing peace.

One of the hallmarks of good music is his ability to speak to future generations, and the "Missa in tempore belli" did it very eloquently and forcefully on 19 January 1973, when he stressed the "Concert for Peace", directed by Leonard Bernstein at the National Cathedral in Washington, to protest the Vietnam War and the official concert in the Kennedy Center in celebration of Richard Nixon's second term (that night).

Beethoven: Missa Solemnis (1822)

Beethoven used a similar application conclusion, devastatingly effective, his "Missa Solemnis" (1822). A final section of the score Beethoven called "Prayer for inner and outer peace." In a long spiritual journey, a melody in 6 / 8, delicately passionate, points the way to its satisfying ending, but that is when raging drums and fanfares were introduced, while the solo first and then the whole choir, staccato tones, terrified , make the prayer for peace in a desperate plea. Just as the fears subside, and the smooth music seems to go back to the expected successful conclusion, the orchestra interrupts with an angry every flight, crowned by the sound of metal screaming loud and thunderous percussion. Calm returns, only to fall twice in complete silence, to reveal Timbales, threatening, still ring in the distance. Finally, comes the final cadence, but it is brief and subdued, a wholly unconvincing attempt to dispel lingering doubts or solve a massive structure and tense.

is, at best, a troubled expression of faith, a problematic issue, not a fan or a comforting statement spiritual meditation. Beethoven finished his most ambitious and possibly the largest, with a witty warning about a mind preoccupied with thoughts about the war can not be truly comfortable or happy.

Britten: War Requiem (1962)

hearings Beethoven may have had to infer their intentions, Benjamin Britten but left no doubt in his haunting "War Requiem" (1962).

In his first major work to seriously challenge the sacred ritual, Britten interspersed the benign authority of the traditional liturgy of mourning with the poetry of Wilfred Owen, a British peace activist who died in battle at 25 years old, leaving a legacy of insightful poems.

The grim reality of exquisitely sensitive observations but ineffably sad, disappointment, grief and emptiness (sung in her solo debut by British and German), makes the liturgical platitudes choir, learned by rote, hollow sound. The final combined sublime usual prayer for peace and eternal rest with a prophetic foreboding Owen about his own useless death, with a tinge of regret that the vanity and arrogance of the world will not to change in the slightest. Britten prefaced his score with Owen on the fear that "All a poet can do is warn." Although Owen died shortly before the armistice that ended the First World War, his words seem eerily accurate in diplomatic paralysis of our time.

Beethoven and Britten imagined war with force, but indirectly.

Shostakovich: Symphony No.7 (1941)

Dmitri Shostakovich wrote most of his Symphony No. 7 (1941) in Leningrad, during the first two months German occupation. Later, the composer would argue that the work was intended as an attack on Stalin abandoned the city ("destroyed Stalin and Hitler merely finished the job"), but actually during the war had claimed more direct approach .

The first movement is an attack, in his infamous central episode, a serene atmosphere vanishes with a loud and annoying that seeps up constantly through the entire orchestra, with increasing intensity in a bolero without grace and increasingly violent .

Although repeatedly been criticized as too large for their weak material (English critic Ernest Newman referred to this work as "too many degrees of longitude and platitudes") (1), persistence insipidus shrill, suggests perfectly the painful oppression of the war. After the march descends into a numb pain, the remaining movements evoke bittersweet dreams of better days, a nostalgic elegy for lost innocence and a powerful climax of victory.

Hailed as a timely symbol of endurance, suffering and hopes of the Russian people, the "Leningrad Symphony" gave several presentations, both in Russia and abroad. At least in one sense, the representation of the battle was taken literally, when Toscanini and Stokowski publicly fought the U.S. premiere after NBC edited the full score on microfilm.

While the symphony esteem plummeted after the Allied victory, his heartbreaking portrait of a society reeling from the war remains an important caveat for our anxious times.

Whether subtly or directly, each of these works offers a clear message against war, as many others. But our beloved democratic tradition depends on a variety of opinions, and so that this study does not seem unfair, I tried to achieve some balance with some works in favor of the war. I found songs that served an immediate purpose, to rally the troops and civilians (the "Marine Corps Hymn," "Over there" in Cohan), works that honored the heroes who rose in defense of their homelands ("Lincoln portrait, "Copland's" Alexander Nevsky "by Prokofiev), epic dramas and romances put in a historical perspective (" Les Troyens "by Berlioz," I Lombardi alla Prima Crociata "by Verdi), and accompanying soundtracks a documentary film and television ("Victory at Sea "by Richard Rodger). In a deeper search, are the "Ballets" Red Chinese, the Nazis and other junk oratorios forgettable touched by faceless committees or written under duress to glorify the fascist regimes. But as serious music, enduring, with a view in favor of the war, I found none.

And I think that is why.

Note

(1) In the art. original, there's a pun. He says: "... So Many degrees of longitude and platitude." No need to explain it, no?

To see the first part of this article: Music in Time of War (1)


Translated .

Peter Gutmann: Music In Time of War: ... or how I Had to stop listening in order to love the Bomb.

To view the art. original Classical Notes

(naturally, the videos are not in the original article, but are an aggregate mine.)

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TROBADA

TROBADA IN CONCERT

On Sunday October 24 will give a concert Companies in the Channel at 12pm.

From Europe to the Americas: Traveler

trombone music shows for 10 trombones and percussion.

Works: Susato, Gabrieli, Purcell, Beethoven, Williams, Nilovic, Ewazen and Fillmore ... among others

Trobada
Trombones Choir

Madrid Álvaro Martínez, Baltasar Perelló, Edmundo Vidal, Elies Hernandis, Enrique Cotolí, Francisco Sevilla, Norman Hogue and Ximo Vicedo, high trombones and tenors, José Miguel Martínez "Viriato" and Stephane Loyer, bass trombone; Raul Benavidez, percussion



Entries: 10, 12 and 14 €

By Internet: www.entradas.com
By Phone: 902 488 488 902 488 488
Box office: from 14:30 to 21:00 h (every day)
In cash: ATM Cash

Madrid

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POSTGRADUATE TROMBONE CHOIR OF TROMBONE BASS TROMBONE TENOR AND IN THE CONSERVATORY OF MUSIC SUMMER SCHOOL ARAGON

Hello friends, I send you here

information on Tenor Trombone graduate will be impartodo by GILLES Milliere (Professor CNSMD Paris), Jorge Van Rijen (Concertgebouw Orchestra) and Michel Becquet (Professor CNMSD Lyon) and Bass Trombone graduate that will be taught by Stefan Schulz (Berlin Philharmonic) to be perform at the Conservatory of Music of Aragon in Zaragoza. Hope will be of interest to you, if you have any questions or you can send me an email to ximovicedo@gmail.com or visit the CSMA website where you will find all the information, but below I've attached the. Thank




SPECIALTY



TENOR TROMBONE FACULTY

Milliere GILLES (3 sessions)
Michel Becquet (1 session)
Jorge Van Rijen (3 sessions)




TEACHING SCHEDULE - 13 and October 14 2010 (Jörgen van Rijen)
- 9 and November 10, 2010 (Gilles Millière)
- 11 and January 12, 2011 (Gilles Millière)
- 29 and March 30, 2011 (Jörgen van Rijen)
- 19 and April 20, 2011 (Gilles Millière)
- May 24 and 25 20 110 (Jörgen van Rijen)
Lack
Michel Becquet date to be confirmed will be in December or February. CREDITS



3.5. COURSE COORDINATOR


Course Coordinator: Ximo Vicedo ximovicedo@gmail.com

COORDINATOR FOR MASTERS DEGREE COURSE:
Carlos Estopiñán. OBJECTIVES
postgrados@csma.es


- Group lessons: the musical work and technical aspects of trombone. Heating, technical base, pitch, flexibility, scales, arpeggios, sound.

- Individual Lessons: trombone concerts will work only with piano.

- Chamber music: the Superior and graduate students will come together to make the CSMA Trombone Choir performed in public to prepare so you can see the results of work performed chamber. All students and tenor trombone Bass trombone.

He taught six classes (from September to June). Each class will last 2 days, spread over 8 hours daily. REQUIREMENTS




To participate in the ongoing and active student must hold the higher degree or equivalent. May exceptionally be admitted as students who are not caught in possession of the qualifications required, demonstrate the technical and interpretive level coordinators of the course of their choice. MODE OF SELECTION



For instrumental specialties, along with the application form will be sent a DVD with a minimum of 30 minutes during which the applicant will perform works of different styles .* The deadline for submitting the completed recording 20 days before the date of the first session of the course.
should send documentation to: Conservatory of Aragon

Attn
Vicedo Ximo.
Vía Hispanidad, 22 50009 Zaragoza


Selected applicants will be notified personally.
* If it considers the coordinator, the applicant shall be relieved of sending this recording for admission. Also, if the coordinator deems it appropriate, the applicant must perform a test face.


ASSETS NUMBER OF STUDENT PLACES

6 NUMBER OF SEATS

Listeners

to full capacity.




Active participants AMOUNT: 1575 €.
(15% discount for alumni CSMA)

Listeners: € 55 per session.
270 € for the entire course.
(15% discount for alumni CSMA)

PAYMENT


Selected students must enter the account of the Conservatory of Music of Aragon
2086 0000 24 0700946949

€ 1575 in respect of "Course development for postgraduates in the Specialty of TROMBONE TENOR "with name and surname of the person conducting the course.

The bank payment slip must be mailed to the following address:


"Conservatorio Superior de Música de Aragón"
postgraduate course
Vía Hispanidad, 22 50009 Zaragoza
"

Or mail to:
informacion@csma.es


PAYMENT FOR STUDENTS SPLIT ASSETS:

There is the possibility of payment by installments as follows:

A first income 60% of the total amount before the start of the course.
A second income of 40% before February 1, 2011.

IN NO EVENT WILL START POSTGRADUATE COURSES HELD WITHOUT PAYMENT OF TUITION. SPECIALTY



BASS TROMBONE TEACHER




STEFAN SCHULZ. Soloist with the Berlin Philharmonic.

CALENDAR TEACHING

6 sessions:

SEPTEMBER 27 -26 -22 2010
23 OCTOBER 2010
-4
5 DECEMBER 2010 18 JANUARY 2011 -17 and -26

APRIL 2011 27 -18 19 JUNE 2011 APPROPRIATIONS



3.


COURSE COORDINATOR

 Course Coordinators: Ximo Vicedo ximovicedo@gmail.com

COORDINATOR FOR MASTERS DEGREE COURSE:
Carlos Estopiñán. Postgrados@csma.es



OBJECTIVES


- Group lessons: the work and technical aspects of trombone music. Heating, basic technique, intonation, flexibility, scales, arpeggios, sound.

- Individual Lessons: trombone concerts will work only with piano.

- Chamber music: the Superior and graduate students will come together to make the CSMA Trombone Choir performed in public to prepare so you can see the results of work performed chamber. All students and tenor trombone Bass trombone.

He taught six classes (from September to June). Each class will last 2 days, spread over 8 hours daily. REQUIREMENTS




To participate in the ongoing and active student should be in possession of a Bachelor Degree or equivalent. May exceptionally admitted as students who are not caught in possession of the qualifications required, demonstrate the technical and interpretive level coordinators of the course of their choice.

MODE SELECTION



For instrumental specialties, along with the application form will be sent a DVD with a minimum of 30 minutes during which the applicant will perform works of different styles .* The deadline for submitting the recording ending 20 days before the date of the first session of the course.

should send documentation to:

Conservatory of Aragon
Ximo Attn Vicedo.
Vía Hispanidad, 22 50009 Zaragoza



Selected applicants will be notified personally.


* If it considers the coordinator, the applicant shall be relieved of sending this recording for admission. Also, if the coordinator deems it appropriate, the applicant must perform a test face.


ASSETS NUMBER OF STUDENT PLACES

4


NUMBER OF SEATS Listeners

to full capacity. AMOUNT





Active participants: 1350 eur.
(15% discount for alumni CSMA)

Listeners: 55 € per session.
230 € for the entire course.
(15% discount for alumni CSMA)
PAYMENT



Selected students must enter the account of the Conservatory of Music of Aragon

2086 0000 24 0700946949

€ 1350 in respect of "Course improvement to graduate in the specialty of BASS TROMBONE "with name and surname of the person taking the course.

The bank payment slip must be mailed to the following address:

"Conservatorio Superior de Música de Aragón"
postgraduate course
Vía Hispanidad, 22 50009 Zaragoza
"

Or mail to:
informacion@csma.es


PAYMENT FOR STUDENTS SPLIT ASSETS:

There is the possibility of payment by installments as follows: The first entry
60% of the total amount before the start of the course.
A second income of 40% before February 1, 2011.

IN NO EVENT WILL START POSTGRADUATE COURSES HELD WITHOUT PAYMENT OF TUITION.



GENERAL CONDITIONS FOR ALL SPECIALTIES

TEACHERS
-improvement courses also teach classes to students GRADE.

-ALL STUDENTS ENROLLED IN POSTGRADUATE COURSE IS ELIGIBLE TO ATTEND ALL SESSIONS TAUGHT IN HIS SPECIALTY.

-ACTIVE STUDENTS RECEIVE AT LEAST ONE HOUR CLASS PER SESSION.

- After completing the course, meet all requirements (enrollment and attendance), STUDENTS IN HIS ADDRESS TO RECEIVE A CERTIFICATE stating course credits. STUDENT NOT MEETING THE DEADLINES FOR PAYMENT OF TUITION PROVIDED, WILL NOT RECEIVE ANY CERTIFICATE.

- ALL STUDENTS ENROLLED IN POSTGRADUATE COURSES MAY USE STUDY OF BOOTHS ONLY DAYS TO TAKE PLACE IN THE COURSE.

- Piano Accompanist: AS FAR AS POSSIBLE, THE PIANIST CSMA COMPANION TO PROVIDE THAT REQUIRE SPECIALTIES. STUDENT YOU WISH, YOU MAY BRING YOUR OWN accompanist.

- IS BECAUSE OF GOD, ANY TEACHER UNABLE TO TEACH THE CLASS ON THE DATES PLANNED TO RECOVER WELL CLASS WITH THIS PROFESSOR OR PROFESSOR WITH OTHER POSTGRADUATE COURSE. IN DEFAULT, THE CSMA PROCEED TO THE RETURN OF PROPORTIONAL TO SUCH CLASS.

- NO REFUND THE AMOUNT OF TUITION IN WHOLE OR IN PART TO THOSE STUDENTS WHO DECIDE NOT TO ATTEND THE COURSE IN ANY REASON THEREOF.

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2010

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BRAS MEETING 2010 IN CONCERT AL'AUDITORI


Here you have information on the course I teach on the Higher Cobservatorio Granada 6, 7 and 8 March. He teachers in Los Brass Meeting 2010 are:

Benjamin Moreno (trumpet), Soloist and Professor of OSRTVE therein Royal Conservatory of Music of Madrid.

Manuel Antonio Fernandes (trumpet) Soloist OSRTVE

Ximo Vicedo (trombone): OSRTVE Soloist and Professor of CSMA.

Peter Castalia (Tuba): CSMA Professor and former English Brass component.


I hope is of interest vuestra.