Posted by sequenza21 in Uncategorized, tags: Ana Cervantes, Mexico
Pianist Ana Cervantes, as invited guest of the III Congress of Musicology of the University SÃ£o Paulo in RibeirÃ£o Preto will participate in roundtable discussions and give a solo recital of music from Rumor de PÃ¡ramo / Murmurs from the Wasteland, an international commissioning project that pays homage to landmark Mexican writer and photographer Juan Rulfo (1917-1986) in which Cervantes asked composers – from México, Spain, the USA, Great Britain and Brazil- for a solo piano piece inspired in Rulfo’s work.
The concert on Friday, March 6 will include my contribution to the project, Murmuring in Comala, as well as works by Silvia Berg, JoaquÃn Gutiérrez Heras, Georgina Derbez, Arturo MÃ¡rquez, Federico Ibarra, Anne LeBaron, Horacio Uribe, Mario LaVista, Jack Fortner, TomÃ¡s Marco and Stephen McNeff.
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Pianist Ana Cervantes will reprise her recent Mexico City GENERACIONES program that includes my Prelude: Homage to Chopin at the Museo Gene Byron in Guanajuato, Mexico on Sunday November 2 at 1 PM.
Also on the program are works by C.P.E. Bach, American Laurie Altman, William Byrd, Englishman Stephen McNeff, Chopin, Rodolfo Halffter, Russian-Italian Olga Gorelli, Brahms and Mexican Arturo Marquez
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Posted by Charles in Uncategorized, tags: Ana Cervantes, Mexico, Piano
Pianist Ana Cervantes commissioned 18 composers to write short piano pieces to commemorate the 50th anniversary of the publication of Pedro Paramo, an important proto-magical-realist novel by Mexican author Juan Rulfo. My Murmuring in Comala (click the link for an MP3) was written for this project. 12 of the pieces, including mine, were recorded on compact disc and presented at the 34th Festival Internacional Cervantino in Guanajuato, Mexico on October 17, 2006. I wrote about the Cervantino Festival some months ago in my memorial entry for the Mexican composer RamÃ³n Montes de Oca Téllez (1953-2006), who died shortly after this last festival.
After the premiere in Guanajuato, Ana has given subsequent performances throughout Mexico: at Irapuato, San Miguel Allende, Abasolo, and San Francisco Del RincÃ³n. She will perform it again tonight at 7:30 PM in the auditorium of the Centro Veracruzano de las Artes (CEVART), Independencia 929, esq Emparan, Centro HistÃ³rico in Veracruz, Mexico. Commissioned works by other composers on this concert, from the U.S., U.K., Spain, and Mexico, include Jack Fortner, Anne LeBaron, TomÃ¡s Marco, Arturo Marquez, Stephen McNeff, Hilda Paredes and Eugenio Toussaint.
My program note for the piece:
Rulfo’s striking sonic palette (groaning wheels, rattling windows, falling rain and murmuring ghosts), echoes the complex narrative unfolding, where we rarely know whose voice we are hearing initially. Just as sounds imply someone making them, we recognize the voices peripherally, like registering a ghost image. We discover whose voice it was rather than whose voice it is. We must resist the temptation to steamroll through these difficult passages because these veiled voices are so crucial to our understanding. Equally striking is the novel’s non-linear conception of time. It flowers slowly in multiple directions. This is a lovely analog to music, which is surprisingly multidirectional: we listen ahead and backward simultaneously, constantly reinterpreting each new musical gesture by placing it in its previous context and anticipating its direction.
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