Farñas Musica Para Guitarras

March 6 with Riverside Symphony and Museo Del Barrio with this all-star group of guitarists--

Dan Lippel, Noam Beili,Oren Fader, Ángel Méndez Katie Pearlman, Guido D'Arezzo (Gustavo Castro) Tania Gallegos Álvaro Hernández Jarquín, Kyle Miller Adam Negrin John Chang Bernardino Rodríguez, Jorge Caballero Ramírez, Neil Beckmann

The first theme is wild.

The second theme is civilized-->

Jungle and village intermingle.The transitions between themes are brilliant, they meld into one another. Moreover, he puts our noses into the cracks-->

We taste the seam bgetween the keys of Ab and C, and there are aftershocks from their juxtaposition--the B naturals in the chord and the Bbs in the riffs above.

And here-->

We taste the seam between E major and C. The piece ends on a G# major chord.

Does the second theme have a Social Realist feel? In Fariñas there is an intersection between American & Russioan social realism. I think of Copland's wonderful Quiet City. Music creating a dwelling place.

Copland brought Fariñas to Tanglewood, but Fariñas also studied in Moscow.

Copland and Edumund Wilson responded to the excesses of 1920s consumerism by turning to Communism. Edumund Wilson went to Russia and became disenchanted.

We now see similar excesses, similar inequality. We see people grasping for a way out.

Edmund Wilson wrote some essays that brutally attack American consumerism. I want to look them up.

I do think of Brahms' 2nd theme of first piano concerto. It is the comfortable, Burgerlich (!!), stately, supra-individual. I also found it annoying, too much like |Pomp & Circumstance (the state might be a bit annoying for anoyone who is at all outside the Burger mold) but the transitions into it are so remarkable. Brahms first theme is not jungle, but the Romantic individual, a different kind of apartness from the collective.

My next step here is to find those EW essays.


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