The concert for piano and orchestra Delly Inkir by Mario Gómez Vignes an experience according to the performer
The present article revolves around the experiences lived by the interpreter from the point of view of his conception, preparation and premiere, abstracting the difficulties and virtues that were drawn in the process. How do you get to release a concert by a composer so relevant? Why his name: Delly...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Colombia |
| Institución: | Universidad EAFIT |
| Repositorio: | Repositorio EAFIT |
| Idioma: | español |
| OAI Identifier: | oai:repository.eafit.edu.co:10784/15284 |
| Acceso en línea: | http://hdl.handle.net/10784/15284 |
| Access Level: | acceso abierto |
| Palabra clave: | Piano Piano Concert Latin American Music Latin American Composers Performers Contemporary Music World Premiere Piano Competitions Mario Gómez-Vignes. Concierto Para Piano Música Latinoamericana Compositores Latinoamericanos Intérpretes Música Contemporánea Estreno Mundial Concursos De Piano |
| Sumario: | The present article revolves around the experiences lived by the interpreter from the point of view of his conception, preparation and premiere, abstracting the difficulties and virtues that were drawn in the process. How do you get to release a concert by a composer so relevant? Why his name: Delly Inkir? How is the premiere of a concert prepared? What difficulties can we overcome in its preparation? Are some of the questions that the players get to ask when facing the premiere of a musical work. When proposing this writing, the author considers that it is of vital importance to contribute to form an analytical and observant opinion of what role the interpreters generate when accepting the challenge of premiering a work, either in a symphonic or chamber format. |
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