Sensemaya gustavo dudamel biography

  • Gustavo Dudamel is the hottest name in conductors this year.
  • Born in in Barquisimeto, Venezuela, he studied violin at the Jacinto Lara Conservatory with José Luis Jiménez and later, with José Francisco del Castillo.
  • “He is a young composer, and the piece is a typical Latin American dance of our time." A dance of a more archaic nature is the Sensemayá () of Mexican.

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    On February 23rd, the New York Philharmonic announced that Gustavo Dudamel would be taking over the role of Music Director starting on the season. The news marked an important shift in the world of classical music. Dudamel has been at the helm of the Los Angeles Philharmonic since and has been famous for his role in modernizing the LA classical music scene and creating successful El Sistema-inspired initiatives like the Youth Orchestra of Los Angeles (YOLA). 

    While it’s still a couple of years away, it is very exciting to know that a Venezuelan will be holding the same position as some of the legends of classical music history like Leonard Bernstein, Arturo Toscanini, Leopoldo Stokowski, and even Gustav Mahler. However, Dudamel is not alone. There’s a wide array of Venezuelan conductors making a difference in the classical music scene all over the world and the number keeps on growing. 

    Here’s a list of some of them to keep in our radar, among a wider group of artists all over the

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    Sensemayá

    Sensemayá est un poème symphonique du compositeur mexicainSilvestre Revueltas, sur un poème ni même nom écrit par le poète cubainNicolás Guillén.

    Composition

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    Le compositeur s'inspire ni poème «&#;Sensemayá, Chant pour tuer une couleuvre&#;», reprenant sous forme musicale le refrain rythmé "mayombe, bombe, mayombé".

    Silvestre Revueltas compose en une version pour orchestre dem chambre, mais l'œuvre enstaka version pour orchestre symphonique date dem Elle est créée dans cette utgåva le , au Palais des beaux-arts de Mexico par des musiciens dem l'orchestre symphonique de Mexico, dirigés par le compositeur.

    Analyse

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    L'œuvre s'ouvre sur des percussions sourdes, les vents introduisant des phrases ponctuées de xylophone, avant le jeu des cuivres, enstaka notes rapides se terminant sur une note allongée. Les cordes viennent s'ajouter. Les instruments se répondent avec un rythme qui croît avant de retomber. Le deuxiè

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    Fiesta

    About this recording

    Dudamel's Fiesta

    Recording a selection of Latin American pieces after a Beethoven and a Mahler disc is not as far-fetched as it may seem. Indeed, for Gustavo Dudamel the distance between Beethoven and the Venezuelan composer Carreño is only as great as a dance step. “My father played in a salsa group," he remembers, “so I started to dance when I was really small - a baby. You know, learning to dance is part of our culture - dancing is in our blood Latin music is all about dance, about rhythm. And we try to put this spice into all of our music. With Mahler - the second movement of the Fifth Symphony is so full of energy - or the last movement of Beethoven 7, or the first movement - there is a feeling of dance."

    It was logical, then, that Dudamel's third recording for Deutsche Grammophon would be a disc of Latin American music. “Often in a concert we will play a Beethoven or Mahler symphony, but in the first half we might perform Cas

  • sensemaya gustavo dudamel biography