Gustavo Dudamel - BENZECRY: Rituales Amerindios (Sinfónica Simón Bolívar Orchestra, CONCERTGEBOUW)

SIMON BOLIVAR SYMPHONY ORCHESTRA - Gustavo DUDAMEL, Conductor
"Rituales Amerindios" by Esteban BENZECRY (Argentina) estebanbenzecry...
Pre-Columbian Triptych for Orchestra (2008)
01:53 I - Ehécatl (Azteca wind god).
12:17 II - Chaac (Maya water god).
22:04 III - Illapa (Inca thunderclap god).
Concert in the presence of the Prince of the Netherlands WILLEM-ALEXANDER of ORANJE and Princess MAXIMA ZORREGUIETA CERRUTI.
Live Web Streaming from the CONCERTGEBOUW - Holland Festival 2012 - Amsterdam.
Written in 2008 and commissioned by a Goteborg Symphony Orchestra (The National Sweden’s Orchestra), is dedicated to Gustavo Dudamel, and this fact motivated me to write something tha would represent the three great latines pre-columbians cultures: the Azteca (in Mexico), Maya (in South of Mexico and Central America) and Inca (South America - most in Peru).
These three works, that conform the Tryptic can be performed separately as independent works.
The composer do not pretends to do ethnomusicology, but to take roots, rhytms and mythology as inspiration to develop his own musical language in a kind of imaginary folklore. This work was completed with the support of the John Guggenheim Fellowship for Music and premiered the 13th and 15th january 2010 in Gothenburg and performed in the XXVI Canary Island Music Festival (Spain).
I - Ehécatl ( Azteca wind god)
In Azteca’s mythology and for others cultures in Central America, Ehécatl was the wind’s god. Usually is interpretated as a manifestation of Quetzatcoatl, the sacred feathered serpent, wifh the name of Ehécatl- Quetzalcoatl, which appears in the breathing of the living beens and in the breeze, that comes with the clouds, giving rain into the cultivates lands
.He is one of the principals gods of the cosmogonie and a appreciated hero in the world’s mythical creation.
Sometimes, he is associated with all the Cardinal directions since the winds blows in all directionsThe music begins with a fanfare that announces the arrival of Ehecatl, the Azteca wind god, with winds that blows faster and faster and violents, to arrive to a B part, more calm, that will us to think that we are in the hurricane’s eye, but after, little by little, will the winds becomo more intenses, earing a distant quotation of the Ehecatl’s fanfare, finally to disolve the storm and to disappear Ehecatl.
This movement is conceived as the passage of a hurricane, what is compatible with the musical form ABA, even if the second A is not texural but in spirit
It is not programmatic music, the composer looks for to find the ethereal essence and multiform quality of the wind, benefactor or destroyer, using for that an orchestration who takes sonorities from the most diverses system, without to be tied to any in particular, as tonal procedures, atonalism, pentatonic scales, minimalism, spectralism, multiphonics (in the woodwinds) and sonorities from the electronic music
II - Chaac (Maya water god)
Chaac was the rain’s god, and also of the fertility.
He was a very important god, symbol of the creating energy, because that Chaac is related with the importance of to learn to canalize wisely our creating energies.
We must find the maya’s simbology: if the water is the symbol of the life in the planet, Inside each human been, the water is the energy who brought into life.
Chaac was also considered to be divided into four equal entities. Each division represented the North, South, Est and West
The water god, with his fecundity energy is taken in the beginning of the movement as drops, till appears in the central part in a powerful tide, that contains the Ehecatl’s fanfare.
The musical proceedings is based in clusters, that gives a base a little motifs melodics or rhytmics of imaginary folklore of the Mayas, inside a mysterious atmosphere submerged in the jungle sounds.
III - Illapa (Inca thunderclap god)
Symbolized by the Illapa serpent, he was the god of the weather, and one of the most popular between the gods.
His name means lightning and thunder. It was a believe that he can to rain from the Galaxy, with water from a pitcher.
The movement starts with a baguala’s rhythm (song of prey and protest), that along with motifs of imaginary folklore Inca, will appears as an invocation to the thunderclap god, to obtain the benefits of the rain, that always goes with him. After that arrives a Scherzo-Carnavalito (joyful rhythm of dance that means Little Carnival), for finally and taking proceedings of the electronic music, translated into the symphony orchestra, for to end in a frantic “rain’s dance” with a great rhythmical power.
#GustavoDudamel #EstebanBenzecry #SimónBolívarOrchestra #Concertgebouw #MaximaZorreguieta #ElSistema #Musicaargentina #Compositorargentino #RitualesAmerindios #OperadeParis #OperaNationalDeParis #LaPhil #LosAngelesPhilharmonic #NewYorkPhilharmonic #NYPhil #TeatroColon #CarnegieHall #MariaValverde #ArturoMarquez #Danzon #Ginastera Opera de Paris #BerlinerPhilharmoniker

[@leonardoiglesias2394]

Que orgullo como aplauden a Maxima!!! Se me saltan las lagrimas de la emocion!!! Que gran mujer!!!!!

[@matiascazon1798]

Tremenda obra maestra, me transporto a lugares que nunca he estado.

[@leonardoiglesias2394]

Yo me sentí transportado a los fondos de Lanús!

[@leonardoiglesias2394]

Quizas Dudamel podría alguna vez alejar un poquito más su codo derecho de su cintura….digo…