The cayambis connection

The cayambis connection

Posted at Jan 21, 2016 | Posted in: Participaciones, Prensa | By: fede | No comments
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New Titles!

The production of new music was slowed down a little bit by our recent trips to South America and to Kentucky. However, two new titles were added to our catalog, one by Jannet Alvarado, herThese Andes Mountains, for clarinet and piano; andInterludes and March, for string orchestra, by John Walker.

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We are pleased to announce that Argen- tine composer, Gerar- do Dirié, has recently joined our family of international com- posers. Dirié, who holds a masters and a doctoral degree in composition from Indiana University, is currently Head of Music Studies at the Queensland Conser- vatorium in Brisbane, Australia. Welcome, Gerardo!
Identidades Festival Poster

The Origin Story

Pronounced kah-YAHM-beess, our name is derived from the group of indigenous people, the Cayambis, who, along with the neighboring Caranquis, in ancient times lived in small, socially stratified city-states. This area was considered as the most important center of Andean cosmic knowledge, which manifested itself throughout their culture but especially in their music and dance.
In order to resist the advance of the Incas during the second half of the 15th century these two groups united but were finally defeated around 1495. Huayna Capac, the victorious Inca general, rounded up the men of the Caranquis, Cayambis and the other allied groups and massacred them along the shore of a beautiful lake north of Otavalo.

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Our People in the News

The new year bodes well for the composers and artists associated with Cayambis Music Press. Here is the latest about their many activities and accomplishments.
Paramos diurnos, by Federico Núñez, was performed on January 14 by the Tropi Ensamble during the 16th International Festival of Contemporary Music in Chile. Next month, Federico will be participating in the “Identidades” 3rd International Guitar Festival that will be held in La Habana, Cuba.
Under the baton of David Vess, on January 16, in Studio T401 at the Boston Conservatory, the Modern Brass Initiative premiered Nicolás Hernández’s octet for winds and brass, A Sign in Space.
On January 28, İlk değil ve son değil, a concept piece for four to six improvising musicians by Nicolás Kliwadenko, will be premiered at the Needles Vinilo experimental stage in Santiago, Chile.
Kent Holliday recently submitted his Psalms from Anteparadise, with its text by Chilean poet Raúl Zurita, to a group in Cuba for recording.
In Venezuela, Luis Pérez Valero was recently invited again to conduct the Symphonic Orchestra of the Carabobo Conservatory of Music in Venezuela, and Luis Ernesto Gómezprepared a compilation of material, Dossier Antonio Estévez, that celebrates the centennial of the birth of this important and influential Venezuelan composer.
Fernando Oliveira was accepted as a student of advanced specialization at the São Paulo State Music School after passing their selection process.
Finally, the Khemia Ensemble will be recording their first album. Entitled Voyages, the album is expected to be ready to be launched in April.

Oliveira Interview on Brazilian TV

Oliveira Interviewed on Local TV Program

The host of Brazil’s TV show Partitura and Fernando Oliveira, talk about classical music in Brazil and Oliveira’s 2015 residency in Chile. (Click on the image).

This Really Happened

Born in Genoa, Camillo Sivori (1815-94) was a virtuoso violinist who at the age of six made his first appearances as an infant prodigy. Said to be the only genuinely accredited pupil of Paganini, over the course of the next fifty years he toured much of Europe and the Americas. After introducing Mendelssohn’s violin concerto in June 1846, later that year, accompanied by pianist Henri Herz, he started for an extended tour of North and South America.
For about the seven or eight months the duo played in 77 American cities. Their concert in Charleston, South Carolina, was characterized as “rich beyond description.” But in April, while in New Orleans the two parted company. Herz returned to Europe. Sivori, however, left for Mexico, Panama, Peru, Chile and Brazil. In 1848 he crossed the Isthmus of Panama, and being compelled to make part of his passage in a boat, he engaged four local boatmen to row him over. When in the middle of the passage, the idea seized him to give the men a little music, and with that intention he took up his violin, tuned it, and began. The effect he produced was, however, far other than he either imagined or hoped for, since the men at once regarded him as a magician and wanted to throw him into the river; they were only prevented from doing so by the payment of a large bribe!

Student Corner

One of the musicians in our artist program, Dolly Hsu, has been busy preparing Three Themes for Solo Piano, in collaboration with the work’s composer, Miguel Santaella. She recently wrote to us with some preliminary impressions that we thought would be of interest, especially to our younger readers:
“From the very first moment that I began working on this piece I found it to be quite impactful. The introduction, which seemed to me to be more like a prologue, creates a long but quite attractive opening section. The rhythmic motivation that begins in the first measure fills the entire movement with a strong sense of pulse.
The second theme starts with a very charming beginning. The melody is vivid and descriptive. Various colors are aroused as the pianist brings out different voicings. The second theme sounds like a tranquil scenic portrait that is temporarily set in between two explosive themes.
The 16th note figures that accompany the first theme are applied even more in the third theme–almost restlessly so–which makes Santaella’s piece into something akin to a toccata. A pianist needs to bring out the energy from the beginning of this last theme and keep building it up until the end. However, the congenial melodic line must not be submerged by the nonstop 16th notes.”

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