Mauricio Murua

In this album Mauricio Arias-Esguerra offers a kaleidoscopic view of recent Colombian piano music, highlighting its striking stylistic variety. Germán Darío Pérez sees a traditional dance through a jazzy lens, and Blas Emilio Atehortúa takes a post-serial approach in his Preludio, Variaciones y Presto Alucinante. The influence of progressive rock music can be heard in Gustavo Parra’s Pavec Lingus, as can Jaime León’s love of US American music in his Made in U.S.A. preludes; and there is techno and angst in Ian Frederick’s Suite Catrina. Arias-Esguerra’s own contributions are highly contrasted, with lyricism in his Arizona Mirage and rhythmic drive in his Toccata Bachkovsky.

Taking off from the precepts of German aesthetics of the middle 20th century, which understandably mistrusted popular culture (or "mass culture") in all its manifestations, the European musical avant-garde has largely rejected influences from the vernacular musical sphere, except insofar as they are skeptically or ironically treated. One of the few to attempt to bridge the gap is Spanish composer Mauricio Sotelo, born in 1961. T

February 2023; similar to the trajectory the [CP 277 CD] set has taken, this set covering the entirety of the Electronic & Experimental Music as originally issued in 1969 on Discos Siglo Veinte, the "Private" Imprint of Argentinian critic Jacobo Romano has been on the books for ages (a decade and a half by my count) & it was only recently (after scouring virtually every shop in said country) that copies of all three relevant titles were finally sourced: "Música Electrónica Latinoamericana" (#LP 502), "Phantasie 1967 / Antithese 1962 / Montage 1967 / Pandorasbox" (#JJ 015), & "Núcleos - 1a. Serie / Música / Metapiéce (Mimetics)" (#LP 500) - the contents of the first two appearing here en toto (in this order) followed by "Metapiéce (Mimetics)" (as a bonus cut, essentially) tidily across a single 80-minute disc.

This is an extraordinarily rich album in musical invention and feeling. Tapajos and Einhorn, together with a bass player of the class or Arismar do Espmto Santo have produced a work which is certain to become a classic of instrumental Brazilian music.
The art of this trio, the most perfect and organic imaginable, which supports the whole musical structure, allows a single view of the work while at the same time freeing each individual to follow the suggestions and intuitions of his own fancy within the structure of the group…

José Maurício Nunes Garcia (1767-1830) fut le plus important compositeur brésilien de son époque. Prêtre particulièrement cultivé, il composa un nombre impressionnant d'œuvres dans chacune des cours régionales qu'il traversa. Son influence fut considérable dans son pays ; il donna notamment la création au Brésil du Requiem de Mozart en 1819 ! Au sein de plus de 200 œuvres, la Missa Pastoril pour une nuit de Noël (1811) fut influencée par le style italien brillant, rappelant à la fois les écritures de Rossini et de Cherubini. Neuf solistes et un chœur important se joignent à un orchestre particulièrement virtuose et soucieux de l'ornementation. L'ensemble Turicum restitue cette partition rutilante, véritable curiosité musicale.

Taking off from the precepts of German aesthetics of the middle 20th century, which understandably mistrusted popular culture (or "mass culture") in all its manifestations, the European musical avant-garde has largely rejected influences from the vernacular musical sphere, except insofar as they are skeptically or ironically treated. One of the few to attempt to bridge the gap is Spanish composer Mauricio Sotelo, born in 1961. T

Of the three extant illustrated manuscripts chronicling the history of the Inca empire and early Spanish rule in the Andes, two are by the Mercedarian friar Martín de Murúa, who probably arrived in Peru in the 1570s. …