ORCHESTRAL MUSIC COMPETITION "Crave" 1963
Leon Schidlowsky: TRI PT I CO
Gustavo Becerra: Symphony No. 2
Celso Garrido-Lecca: SYMPHONY IN THREE PARTS
LEON Schidlowsky: "Triptych" EL "Triptych", which won first prize in competition "CRAY" of orchestral music, composed in 1959, arose as a result of strong emotional impact that the death occurred in Schidlowsky Chilean composer Roberto Falabella. "Triptych" consists of a series twelve-tone and content of its three parts is as follows: a) "Omen" as a prelude is built on a single cell rhythmic-melodic, presented eats "leit-motiv", symbolizing the death, b) "March Ftinebre" that the rhythmic-melodic theme derived from the subject of previous movement and results in a tripartite manner, c) "Dance" essentially rhythmic movement that the composer is looking for one of the ideas held by Roberto Falabella, who encouraged the Chilean composers the utilization of the African rhythmic element.
GUSTAVO BECERRA: "SYMPHONY N9 2" (De Profundis) His "Second Symphony" written in 1958 and won the Second Prize in the "CRAY" Orchestral Music, begins with an Allegro (a - 6-a) consists of two sections with a central axis. The first is based on the original tone row and the second in the regression of the same. The series appears only in these two provisions and treatment is free. The second movement Andante (Tu Solus Altisimus) is also formed per two sections and a coda. If this is removed, both sections can be switched seamlessly to form an endless movement. The final movement Allegro agitato (De Profundis) is complex, and beyond to make their own characteristics serves as a summary to the entire symphony when you "reprise" of sections pertaining to general mood anteriores.El movements of this symphony is about to usual means those who create concrete and electronic music is by mechanical means. The highlight is focused on the second movement. The effects produced by glissandi with harmonic overlap and create games timbrfsticos an unusual colors of novelty, which binds to a dramatic process of anguish and inco'gnitas overwhelming.
Celso Garrido-Lecca
"SYMPHONY IN THREE PARTS" The Symphony in Three Parts, written in 1960 for the Second Inter-American Festival of Musics in Washington, is one ofthe most important works of the composer. She earned her Encouragement Award Competition "Crave" Orchestral Music 1963. In the Sinfonia, Garrido-Lecca destroy the traditional concept of "movements" with a sense of independence and autonomy that implies, and calls these "parts", having all the same material generator. Is in a sense a cyclical conception. The three parts originate from the same series of the twelve sounds chromatic scale. After a slow introduction triggered an Allegro agitato. The first part responds to a general scheme of sonata form, with certain episodes interspersed. The "Quiet", which follows, takes the form of song. It starts with the harp and harmonic sounds of the strings, passage introduces a song of the English horn, which is the main terra Is first section. The second section is clearly based on the introduction of the symphony, and the third is the reiteration of the first developed. The latter is linked directly to the third part: Allegro Molto. Is this, in essence, the shape of Rondo, but the songs are very varied. Allegro Molto ends with a Coda, a brilliant orchestration.
"SYMPHONY IN THREE PARTS" The Symphony in Three Parts, written in 1960 for the Second Inter-American Festival of Musics in Washington, is one ofthe most important works of the composer. She earned her Encouragement Award Competition "Crave" Orchestral Music 1963. In the Sinfonia, Garrido-Lecca destroy the traditional concept of "movements" with a sense of independence and autonomy that implies, and calls these "parts", having all the same material generator. Is in a sense a cyclical conception. The three parts originate from the same series of the twelve sounds chromatic scale. After a slow introduction triggered an Allegro agitato. The first part responds to a general scheme of sonata form, with certain episodes interspersed. The "Quiet", which follows, takes the form of song. It starts with the harp and harmonic sounds of the strings, passage introduces a song of the English horn, which is the main terra Is first section. The second section is clearly based on the introduction of the symphony, and the third is the reiteration of the first developed. The latter is linked directly to the third part: Allegro Molto. Is this, in essence, the shape of Rondo, but the songs are very varied. Allegro Molto ends with a Coda, a brilliant orchestration.
