Cayambis Newsletter march

Cayambis Newsletter march

Posted at Mar 20, 2020 | Posted in: Participaciones, Prensa | By: fede | No comments
Cayambis Connection Masthead

Our People in the News

Demian Galindo reports that he has just finished his work, Capricho, for string bass and string orchestra.Juan López Maya’s article, “Música, masonería y sociedad en Valparaiso y Copiapó, 1850-1906,” was recently published in Musicaenclave, the journal of the Venezuelan Musicology Society.Darwin Aquino writes with two important developments. First, he was selected as a finalist for the position of Music Director of the Ashland Symphony Orchestra, and two, the Washington University and University of Missouri-St. Louis symphony orchestras, under Darwin’s baton, were combined in a concert that featured video game favorites.

Last month, on February 20, Federico Núñez gave a concert that was broadcast on the Universidad Nacional Autónoma de México (UNAM) radio network (see below). He also informed us that his work, Cristales discontinuos for electric and acoustic guitar quartet, can now be heard on Spotify.

José Lezcano writes with a long list of recent performances that he either participated in as a performer or were of his works, which includes a residency in Yucatán, Mexico with Duo Mundo, and recitals in Saugerties, New York, and Boston, Massachusetts.
Lastly, we recently went to Panama, where we had a delightful meeting with our Panamanian composers. Pictured, from left to right, Dino Nugent, John Walker (not Panamanian), Samuel Robles and Carlos Camacho. We also saw the canal zone. Wow!

Recent Performances

We love to report on performances of our music! Keep on sending us dates and details so we can fill up this space every month.• On January 26, flutists Patricia Cardona and Darwin Cosme presented a program entitled “World Textures” at the Church of St. Edward the Martyr in New York City that included José Comellas’ Adieu à la Havanne.• Oboists William Wielgus and Jeanette Zyko performed Sadiel Cuentas’s Marinera on a January 29 recital at James Madison University in Harrisonburg, Virginia. Also on the program was Antonio Gervasoni’s Poetic Melodies for unaccompanied oboe.

• Daniel Cueto’s Fagot Pukllay was performed on February 3 by bassoonist Allison Detloff and pianist Da Hee Kim on a “Salon Latino” program at Indiana University in Bloomington, Indiana.

• Peruvian Fanfare No. 1, by Antonio Gervasoni, was performed by the DePaul Wind Symphony, conducted by Dr. Erica Neidlinger, at the Mary Patricia Gannon Concert Hall in Chicago, Illinois, on February 5.

• Laurel Zucker joined Emily Robinson and Yeil Park in a performance of her Cuban Trio during the Mid-Atlantic Flute Convention in Herndon, Virginia, on February 15.

• Antonio Gervasoni’s fanfare was performed February 21 on the “North Central CBDNA Chosen Gems” session as DePaul University in Chicago, Illinois.

• Will Peebles and pianist Lilian Pearson performed Daniel Cueto’s Fagot Pukllay on February 27 in the Coulter Building Recital Hall on the campus of West Carolina University in Cullowhee, North Carolina; several days later, on March 1, the Detloff and Kim duo returned to the Indiana University stage for a repeat performance of this same piece.

• Flutist Robin Matathias and pianist Virginia Eskin performed José Lezcano’s Postcards on March 11 at Keene State College in Keene, New Hampshire.

• Sadiel Cuentas’s Obertura sencilla was premiered in Lima, Peru by that country’s national symphony on March 13.

FAQs (and Other Matters)

At conferences, conventions and other events, we oftentimes get asked about how we select the music that we publish. It turns out that there is more than one answer. When we first launched our company seven years ago we formed an editorial committee to help us choose the finest compositions from among the many unsolicited scores that we have been receiving over the years, such that today, we are working with dozens of the best living composers from throughout the Americas.However, particularly within the last few years we have been focusing more and more on historical works, that is, compositions that range from about the mid 19th century to the end of the 20th. There are a number of different sources for this material, such as archives, national libraries, foundations and even heirs and descendants, all with an eye towards adding the most significant historical works to our catalog.
Nearly always, we get asked why we formed our company. The short answer is that we wanted to create a bridge between Latin and North America. People will then say something like that we have found a niche, but honestly, it’s a pretty big one! We have nearly 500 titles in our catalog, with many more in preparation.
At a recent conference someone wrote, “Who is your favorite unsung composer?” on a whiteboard that they had put up in front of their booth. It filled up in less than a day! We wondered, but only briefly, about the number of responses we would get were we to have put up our own whiteboard with the question, “Who is your favorite Latin American composer” written on it.
In the 1940s, Gilbert Chase, an important American music historian, wrote that “the territory of Latin American music history is so unfamiliar as to constitute virtually a terra ignota.” Will this ever change?

By supporting the Cayambis Institute, the answer is a resounding “yes!”You can help provide opportunities to composers, performers and academics, both here in the United States, and around the world. Indeed, your generous support is crucial to the success of our mission, which is to enhance the understanding and appreciation of Latin American classical music here in North America.We’ve built a bridge, but we’d like to get more people across from one side to the other.

Are you willing to lend a helping hand to our cause?

Then, please, donate today!

The Cayambis Institute for Latin American Studies in Music (CILASiM) is a 501(c)(3) nonprofit organization. Your donation is tax deductible to the fullest extent of the law. Profits generated by the activities of Cayambis Music Press are used to support CILASiM programs and services.

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