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Incanto CD
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Incanto CD

Catalog: 74598
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Incanto - Ysmael Reyes - Flute and Susan Olenwine - Piano

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"Every time I perform these works I am transported to a earlier time, bringing me closer to home, family and tradition. These remarkable pieces encourage me to keep digging into the music and culture of Venezuela, and promote its greatest composers."

Ysmael Reyes

  • El Bachiano for solo flute Raimundo Pineda (b. 1967)
  • Solo de Pajarillo for solo flute Omar Acosta (b. 1964)
  • Canto Aborigen, Siete Recreaciones sobre Juan Francisco Sans (b. 1960)
  • Temas Indígenas Venezolanos (Aboriginal Chant. Seven Recreations on Venezuelan Indigenous Themes)
  • I. Canto de Saludo. Regocijo (Greeting Chant. Rejoicing)
  • II. Toque de Uotoroyó (Uotoroyó's Beat)
  • III. Joa Guarate. Canto de Diversión (Joa Guarate. Entertaintment Chant)
  • IV. Toque Funerario (Funeral Song)
  • V. Toque de Flauta de Pan (Pan Flute Song)
  • VI. Canción de Amor (Love Song)
  • VII. Toque de Curación (Healing Chant)
  • Rancho Son for solo flute Paul Desenne (b.1959)
  • Cuculí for flute and piano* Andrés Barrios (b. 1961)
  • Adiós Pariente for flute and piano* Andrés Barrios
  • Incanto for solo flute* Eduardo Lecuna (b. 1977)
  • Tres Irunulaciones for flute and piano * René Orea (b. 1976)
  • I. Pasaje
  • II. Diurnalia
  • III. Costa-Montaña
  • *Premiere recording

Recorded: October-December 2012
Recorded and engineered by Mike Quam. - Produced by Ysmael Reyes and Mike Quam.
Photos: Ric Urrutia with behindthelens.net - Design: Clear Note Studio
Ysmael Reyes plays Arista flute headjoints

Raimundo Pineda – El Bachiano

Venezuelan flutist, composer and conductor Raimundo Pineda currently holds the Assistant Principal chair with the Simon Bolivar Symphony in Venezuela. He has performed extensively as a soloist with orchestras in Venezuela, including numerous times with the Simon Bolivar Symphony. Mr. Pineda teaches flute and piccolo at the Latin American Flute Academy in Caracas and throughout the country with the System of Youth Orchestras of Venezuela. As a member of Onkora and Los Sinverguenzas, two of the most important ensembles of Venezuelan traditional instrumental music, Mr. Pineda has toured Latin America and Europe. His numerous compositions for flute and a variety of flute ensembles have been featured in several NFA Flute Conventions and in Festivals in Latin America and Europe. His music has been recorded and performed by some of the leading flutists of today such as William Bennett, Denis Bouriakov, Marco Granados and Luis Julio Toro.

El Bachiano was written as homage to the Venezuelan master flutist José Antonio Naranjo. He was one of the first flutists to study and perform traditional Venezuelan music with commitment and dedication. The form of the piece is a Joropo con estribillo, which is a traditional genre of the eastern part of the country on the Caribbean coast. My admiration for J.S. Bach's music inspired many of the themes in this joropo. The name Bachiano has a double meaning—ensuing from Bach and Baquiano. Baquiano refers, in Spanish, to a skillful and experienced person who knows his surroundings and his path and often serves as a guide to others. The title in this work characterizes the influences of Bach in the intricate musical language of the introduction with its descending progressions. The introduction is then complemented the with the freedom of the joropo that is slowly woven into the texture of the piece, first as a pasaje (a form of slow joropo) and unfolding into the estribillo (the fastest section) seamlessly flowing on a path as if guided by a Baquiano.

Solo de Pajarillo by Omar Acosta

Venezuelan flutist and composer Omar Acosta, was raised in a family of musicians with a strong tradition in the music of the Venezuelan folklore. He started his academic music studies in the System of Youth Orchestras of Venezuela completing courses in flute, theory, harmony, composition, counterpoint, and orchestration. Mr. Acosta held principal flute positions with the Simón Bolívar Symphony Orchestra and the Venezuelan Symphony Orchestra. He has performed as a solo artist and in ensembles in a wide range of genres and styles such as classical, jazz, Latin, Indian, African, Venezuelan and flamenco. As a performer and composer Omar has toured over thirty countries in four continents. His original works have been performed and recorded by renown soloists, ensembles and orchestras around the world and includes symphonic and chamber music, dance and ballet music, traditional Venezuelan and world music, and music for TV and entertainment.

Solo de Pajarillo for flute alone, is based on a Pajarillo (little bird), which is one of best known and most popular subgenres of the Joropo in Venezuela. The work embraces rhythmical characteristics of the Joropo such as a meter that wanders spontaneously and constantly between 3/4 and 6/8 patterns, with free sections that are conceived in the fashion of short cadenzas. Although the Solo de Pajarillo is written in a minor key with a simple I, IV, V harmonic turn, the composer uses mayor keys in brief introductions and endings for several of its sections. The work also stresses with especial emphasis the dominant chord (V), using it almost as a new tonic chord, which creates a resemblance with the Flamenco scale.

Juan Franciso Sans - Canto Aborigen

Siete recreaciones sobre temas indígenas venezolanos One of the leading composers and scholars of Venezuelan music, Juan Francisco Sans, has also developed a successful career as a performer and conductor. Mr. Sans has toured the US and Latin America and has recorded numerous albums with his own compositions. He is currently Dean of the School of the Arts at the Central University of Venezuela in Caracas, where he leads a research in Latin American music from the eighteenth to the twentieth century. Mr. Sans has published numerous articles about Venezuelan music from the nineteenth century and the first half of the twentieth century in scholarly publications in Venezuela, Chile and Mexico. He was General Director of the Nacional Music Center in Cosa Rica, and Music Director and Conductor of the Costa Rican National Symphonic Choir. His compositions and critical editions of piano music have been extensively recorded by some the most prominent Venezuelan musicians.

The Canto Aborigen - Siete recreaciones sobre temas indígenas venezolanos (Aboriginal Chant - Seven Recreations after Venezuelan Indigenous Themes) was commissioned and dedicated to Luis Julio Toro and Marisela González. This suite in seven movements is based on musical material from the most important Venezuelan indigenous ethnics groups. The author decontextualizes the melodic material altering it through different rhythmic, timbral and harmonic procedures, creating a new music in which lies, pristine, the spirit of these daunting ancestral sounds. The order of the movements evokes the cycle of life, where joy, leisure, love, illness, death and rebirth are essential aspects.

Paul Desenne - Ranchosón

Steeped in the complex, multi-layered musical environments of the Caribbean, the Andes and the Orinoco-Amazon basins, Venezuelancomposer Paul Desenne celebrates the rich voices of these cultures in concert form. Performed at major venues around the world, his works have been described as "immediately striking…bright, freewheeling and sophisticated" (The New York Times) and "…marvelously alive to the worlds of colors and glints and shimmers that musical instruments…are waiting to have loosed from them." (The Boston Globe) Resident Composer at El Sistema in Venezuela, Paul Desenne is the recipient of a 2010 Radcliffe Fellowship, a 2009 Guggenheim Fellowship and a 2006 Civitella-Ranieri Fellowship. He was awarded the Premier Prix, Premier Nommé in cello performing at the Conservatoire Supérieur de Paris in 1985.

Ranchosón by Paul Desenne is the final movement of the Sonata for Solo Flute Desenne composed in 2000. The main motif of the piece is like the watermark of a Son, the most popular Caribbean and Afro-Cuban form which has many derivations. The motif glides through various tonalities, visiting differently colored spaces in a sort of harmonic labyrinth. The sonata, the center of which is a set of variations on the theme from Mission Impossible, hints at multiple musical references present in Latin America and ends with this dance of many moods; a final, very Latin gesture.

Andrés Barrios – Cuculí and Adiós Pariente

Venezuelan composer Andrés Barrios was born in Caracas, where he studied music at the Escuela Superior de Música José Ángel Lamas with Nazyl Báez Finol, Gloria de Kucci, Modesta Bor, Alfonso Pagliuca, Gilberto Rebolledo and Juan Bautista Medina among others. In 1985 he received "honorable mention" at the Vinicio Adames choral composition competition for his work "En el cementerio" (In the Cemetery), with anonymous poetry. In 1989 he received the prize Premio Municipal de Música for his vocal work "Stabat Mater" for a capella mixed choir. Mr. Barrios is a self-taught artist and an enthusiast of the grotesque poetry. In 2006 he published his first book of poems entitled "Poemas Tomados." He is founding member of the trios "Los Hermanos Naturales" and "Décimo Nónico," the latter conducted by Bartolomé Díaz.

The following two works, Cuculí and Adiós Pariente are by Andrés Barrios. Cuculí was written as homage to a mystic bird. According to Barrios, the piece was composed in a state of intoxication with Venezuelan hard liquor. At the time, he was part of a group of students who produced a musical publication entitled "Música y Ensayo." The group used to get together to study, perform and critique each other compositions. This piece was a favorite among the young composers.

About Adiós Pariente the composer says: it's based on a sad story that affected my life. A neighbor had a corner store close to my home. Every time I walked by the store I'd say "Adiós Pariente" and he responded "hasta los dientes…"—a call and response sort of greeting they exchanged every day. One day I passed in front of the store and shouted "Adiós Pariente" but there was no reply. He had died in his store. I wanted to capture my sadness in this work.

Eduardo Lecuna - Incanto

Prize-winning Venezuelan composer Eduardo Lecuna (b. 1977) has written music a wide range of styles for diverse media such as orchestral, vocal, and electronic music. His compositions have been featured in different editions of the Latin American Musical Festival and the A Tempo Music Festival, the most important events of contemporary music in Venezuela. Lecuna earned a Bachelor degree in Composition at the Instituto Universitario de Estudios Musicales in Caracas (2003), a Master degree in Music at the Universidad Simón Bolívar in Caracas (2006) and a Diploma in Composition at the Universidad Central de Venezuela (2008). In the field of musicology, he has worked as editor in the critical edition collection Classics of the Venezuelan piano literature. He currently teaches Musical Analysis in the Master in Music Program of the Universidad Simón Bolívar, where he is Assistant Professor in the Social Sciences Department.

Incanto by Eduardo Lecuna, is a Latin word which means the pronunciation of word formulas for a magic spell or enchantment. It is also a word play (pun) meaning "in chant" (In-canto). The composition is based on a set of three notes (ex. D, G and A flat) and some specific relationships that this set of notes can handle. It's structured in a sonata form. The first theme, somewhat furious, exposes the incantation repetitions of a musical gesture, whereas the contrasting second theme pictures some kind of hypnotic state as the result of the enchantment. lncanto has a dedicatory for my friend Ysmael, who encouraged me to believe that this composition was worthwhile and gave me ideas for improving it. It is also dedicated to his lovely wife and flutist Gina and their son Marcelo, the three of them being under some other kind of spell and another kind of magic: love and life itself."

Tres Irunulaciones by René Orea

Venezuelan-Canadian flutist, composer, René Orea has developed a successful career specializing in performance, composition and research of European-classical, contemporary and Latin-American musical traditions. Originally a self-taught composer, René holds a Master's degree in composition from the University of Montreal. His compositions (chamber music, orchestra, soloist with orchestra, small pieces in South-American popular genres, etc.) have been performed in Venezuela, Switzerland, Germany, England, Canada and United States. In addition to winning the First Prize at the Composition Competition of the 1st Latin America Flute Festival, the First Prize of the Composition Contest for Chamber Opera of the University of Montreal (2011) and participating in artist residencies (Virginia Center for the Creative Arts and the Center Montréal, Arts interculturels), René has received several grants from the Canada Council for the Arts, Conseil des arts et des lettres du Québec, Les Amis de l'Art du Québec, Musique Multi-Montréal/Radio-Canada (Étoiles-Galaxie Prize) and also from the UNESCO-Aschberg cultural program. Trained in the National System of Youth Orchestras of Venezuela, René holds a Bachelor in Music Performance from the Instituto Universitario de Estudios Musicales in Caracas and a Master's and a Specialized Diploma from the University of Montreal. He was a member of the flute section of the Venezuelan Symphony Orchestra. He has taught at the Simón Bolívar Conservatory of Caracas, and the Service of Cultural Activities and Youth School of the University of Montreal. He is currently a doctoral candidate in Ethnomusicology at the University of Montreal.

Mobility, stillness, lightness, density, oniric evocation. The pictures composing Tres Irunulaciones propose a space where contemplation, excitement, languor and urgency belong to a whole unity. A sort of secret passage ("Pasaje") opens the entrance to the following micro-universe, born between the end of the night and the diurnal sunrise. This "diurnalia" is inhabited by the light and the shadow where the chant of some far plain land soaks our imagery. Finally, the sea coast with its escort of mountains ("Costa-Montaña"—mountain range in the Venezuelan Northeast) joins together every night ancestral drums, descendants of a diaspora – at once logical and absurd. The root word "irunu" comes from the Venezuelan Guajira region and means "Child of the Moon". Started in Venezuela, Three Irunulations was completed in 2001 at the Virginia Center for the Creative Arts, during an artistic residence granted by the Fund for the Promotion of Culture of the UNESCO-Aschberg.

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