Pablo Ortiz

Guitarist Costarricense

Critical Music: ¿Director of the metronome?

Posted on Oct 26, 2010

Critical Music: ¿Director of the metronome?

Soloist. Costa Rica's Pablo Ortiz was brilliant on guitar Apart from performance sensitive, precise and diligent Costa Rican Pablo Ortiz, as soloist in the Concerto for Guitar and Orchestra, opus 67, del inglés Malcolm Arnold (1921-2006), I received few musical aesthetic satisfactions-tenth of the official season concert of the National Symphony Orchestra (UN). With the Russian Mark Kadin on the podium as guest conductor, function was held on Friday 22, at the National Theatre (TN), to a rather small audience. Two known pieces completed the program: early, Adagio for Strings, in B minor, opus 11, the American Samuel Barber (1910-1981); al final, the Symphonie fantastique, opus 14, del francés Hector Berlioz (1803-1869), both executed by the OSN often. Arnold y Ortiz. The agile and timely interpretation of Ortiz did not deserve the support and careless indifference to her by the Director. Arnold composed the work in 1957 and dedicated to the famous British guitarist Julian Bream, that premiered two years later. It is a melodious piece, composed in the traditional three movements, masterfully orchestrated and neat and idiomatic writing for the guitar. It is noticeable the influence of jazz, especially in the middle movement slow, a kind of dirge in memory of Franco-gypsy Django Reinhardt (1910-1953), The great jazz guitarist. In the function, Pablo Ortiz played it for the first time in the country and, also, absent a cadenza in part for exclusive showcasing of solo, self-released a stamp, interposed between the movement and the second movement conclusive. His was also tip that responded to the warm applause, Air corridor, evoking the typical Costa Rican tunes. Barber. Initially, section OSN arcs produced a polished sound and toned in Samuel Barber Adagio, the original version for string quartet dates from 1936 and this expanded version of 1938. However, Kadin in reading lacked impetus to elegiac music course and static flow expressionless metronomic rhythm imposed by the director frustrated the emotional intensity of the climax of the piece. Berlioz. After intermediate, something similar happened with the works of Berlioz, released in 1830, bearing the title episode in the life of an artist, and that is a milestone in the further evolution of ...

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