Compositores contemporaneos

conciertos-porcentaje-muertos.jpg
Un gráfico muy interesante, que me ha costado un poco conseguir. De él hablan en este interesante artículo del New Yorker, escrito por Alex Ross, autor de uno de los mejores blogs sobre música clásica. El artículo es una especie de opinión conjuntada de dos libros de reciente publicación:

En estos dos libros se trata sobre la formación del concierto de música clásica. Cómo lo que era un lugar festivo en el que charlar, comer y ligar con buena música de fondo se convirtió en un sitio donde hasta toser está mal visto.
El culpable de todo no es otro sino la burguesía, que con estos códigos de conducta se apoderó del espectáculo musical, dejando de lado a aquellos que no fueran capaces de seguirlos.
Como dato curioso, quizás lo que más, es la gráfica de más arriba, que he obtenido del primero de los libros antes citados. Es el porcentaje de piezas de compositores ya fallecidos que se programaban en tres de las principales ciudades del mundo musical europeo: Paris, Leipzig y Londres.
Como puede verse, conforme el concierto se iba encorsetando en la forma que ahora conocemos, se iban descartando más y más a los autores de la época, en beneficio de los compositores del pasado. En la época de Tchaikovski, Verdi y Brahms se reponía más a autores como Beethoven y Mozart.
La situación ahora es aún más exagerada. Si no fuera por los compromisos de premios y los amiguismos con compositores, apenas si se programarían piezas contemporáneas. Es más, si se le dejara votar al público no se estrenaría ni una sola.

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5 comentarios sobre “Compositores contemporaneos”

  1. Lamentablemente, tengo que incluirme en ese porcentaje de público que has mencionado, aunque no haya acudido jamás a un concierto en vivo. Soy oyente más o menos habitual de Radio Clásica y me cuesta horrores encontrar algo contemporáneo que me agrade.
    Mi «frontera» personal es Béla Bartók. De ahí en adelante, lo siento pero no trago casi nada. Cuestión de gustos.
    [Comentario zrubavel: Pues no tiene nada de malo el que a uno no le gusten las «matracas» más modernas. Por lo menos has puesto la frontera en un lugar muy bueno.]

  2. Si alguien se atreve a lanzar alguna recomendación de piezas de piano escritas por autores contemporáneos que no sean matracas, de buena gana las escucharé. A parte de Philipp Glass, que tiene buena música, conozco a muy pocos.

  3. Andersen Viana (1962 – )
    An active and prolific composer, Andersen Viana has written over 250
    pieces, worked as a composer-conductor and a cultural producer, and has
    taught comparative music history at Palacio das Artes and Film Music at
    the Escola Livre de Cinema, both in Belo Horizonte. In addition, he
    occasionally lectures in universities around the country.
    An Influential FamilyBorn in 1962 in Belo Horizonte, this Brazilian composer, arranger, conductor and
    music producer comes from a family of musicians and artists. Among
    them was his father, Sebastião Vianna, who was very accomplished.
    Today, he is perhaps best remembered as the reviser of and assistant to
    Brazil’s most well known classical composer Heitor Villa-Lobos.
    The young Viana’s first composition dates from between the ages of
    twelve and thirteen and was of a religious nature. His first
    instrument, the guitar, was soon exchanged for the piccolo and later
    for the flute, which he studied under guidance of his father. It seems
    that just being with his family served as an intense music education:
    at mealtimes many topics about the art were discussed and debated.
    These lively discussions, together with his flute studies and the
    advice and encouragement of his father, promoted the creation of many
    compositions.
    First Successes
    At age seventeen, Viana gathered a selected repertoire of his music for
    flute, piano, and cello, and began presenting recitals in his town. At
    this time, however, circumstances arose that put composition and flute
    playing on hold: a greater need for string instruments in Brazil led
    Viana to learn about these instruments.
    As part of his studies, he met one of the most renowned professors in
    Brazil, the violinist Paulo Bosísio, a student of the esteemed British
    violinist Max Rostal. Bosísio taught Viana everything about strings,
    focusing on viola and violin. After only two years of viola studies,
    Viana entered a contest in Rio de Janeiro and subsequently was accepted
    into the Youth Symphonic Orchestra (1983).
    He spent the next five years there, and simultaneously he complemented
    playing in the orchestra with four years of work with the Brazilian
    Musical Theater. At the theater he served as a performer, arranger,
    and musical director, working closely with directors and authors such
    as Luiz Antônio Martinez, Manuel Puig (known for the 1986 Oscar-winning The Kiss of the Spider Woman) and Luis Antonio Barcos.
    At the same time, however, Viana continued actively composing. In 1984 his piece Fantasieta for horn and piano won first prize in the I National Composition
    Competition in Rio de Janeiro. One of the judges of this competition
    was respected composer Radamés Gnatalli, with whom Viana later took
    private lessons. Following that win, he earned an honorable mention in
    the International Competition at Vercelli-Italy (1984) with the same piece, and won the Funarte Sidney Miller Hall Project (1986) with his ecological instrumental piece Suite Floral.
    In 1988 he returned to Belo Horizonte after a period of academic studies at the
    university, and there he entered the Fundação Clóvis Salgado – Palácio
    das Artes (1989).
    In 1992,
    shortly before concluding his composition studies at the School of
    Music at the Universidade Federal de Minas Gerais (UFMG), he entered a
    work in the Summer Festival in Poços de Caldas and won the competition.
    The prize was a 1993 trip to Italy in order to participate in the Festival di Anzio-Italy at
    the Arts Academy of Rome. Viana was also invited to establish and
    direct the Brazilian Embassy Choir while simultaneously working on his
    course at the Reale Accademia Filarmonica di Bologna.
    Also that year, in June of 1993,
    he was a participant at the Premio di Studio IILA (Italo-Latin American
    Institute of Rome) and competed with artists from twenty-three Latin
    American countries; ultimately, he won this important prize, the
    Accademia Chigiana di Siena – Ennio Morricone. At this same institute
    he took seminars about film and music with directors such as Ettore
    Scola and Giussepe Tornatore.
    Recent Professional Achievements and Activities
    Throughout his career, Viana has earned prizes in many prestigious competitions, both in Brazil and abroad. For instance, in 1996, he won first prize at the II National Composition Competition. In 1998,
    he was awarded another first prize at the I César Guerra-Peixe
    Composition Competition for Symphonic Band and earned second prize at
    the II Camargo Guarnieri Composition Prize for String Orchestra.
    2001 was a particularly noteworthy year in terms of competition prizes.
    That year the Gramado Film Festival awarded him «Best Sound Track.»
    Viana also won first and second prizes at the Funarte Composition
    Competition. And, in a competition among fifty-six professional
    composers from the Americas, Europe, and Asia, he received first prize
    for his Toccata at the «1er Concours de Composition pour Orchestre à Vent» – Lys Music Orchestra.
    His most recent awards include the first prize at the II Gilberto Mendes Composition Competition (2004).
    Also he was selected as one of five finalists among 200 candidates
    from forty countries at 1er Concours de Composition Musicale Coups de
    Vents, LILLE – France, Cultural Capital of Europe. In 2006 he won the second prize at the UFBA Composition Prize competition and
    won the first prize and the public prize at Lambersart Composition
    Competition – France.
    Additionally, for more than two decades he has performed, organized,
    produced, and composed for numerous musical events and recordings. He
    has succeeded in creating and directing many vocal and instrumental
    ensembles such as the Experimental Orchestra (1983), Septheto Rio (1986), Febem Children’s Choir (1991), the Brazilian Embassy Choir in Rome-CEB (1993), Cultura Inglesa Choir B.H. (1994),Trio Barroco (1994), Orchestra Virtual (1995), Stockholm Nonet (1996), The Duo-Sweden (1997), Smru Choir, Camerata Primavera (2003), and The Cicada and the Orchestra (2006).
    At present, Viana’s catalogue contains over two hundred works, composed
    in a great diversity of styles and for various instrumental and vocal
    ensembles, electronic, acoustic or both. He has been working to
    develop a «multi-aesthetic and multi-cultural» music.
    In the 2001-2002 season his project “BH International Year I” was approved by the City
    Town Hall. For the first time a Brazilian composer has conducted,
    produced and recorded original music with a top European orchestra, the
    Moravian Philharmonic Orchestra (Moravska Filarmonie), in the Czech
    Republic. He has also composed, conducted and produced music for the
    following films: The Fortuneteller,3:00:AM, Burning Hearts, The Adam Children, The Next Step, Gun’s Speech, Lost in Abbey Road, Vivalma, Manuelzão e Bananeira, Ofelia, Playing for Tomorrow, Ghost Train, The Man of Head of Paper and Minas Portuguesa. In 2002 his music was selected from among 500 international candidates to be presented at the Mova Arts Festival in Alabama, U.S.A.
    Currently Viana, who holds a doctorate in composition from the Federal
    University of Bahia School of Music, is a professor at the Palácio das
    Artes and Escola Livre de Cinema in Belo Horizonte, Brazil. He
    specializes in film music, having studied this genre in music
    institutions in Brazil, Italy and Sweden including: UFMG, Reale
    Accademia Filarmonica di Bologna, Arts Academy of Rome, Accademia Chigiana di Siena and Royal College of Music in Stockholm.
    Along with music, Viana pursues other artistic endeavors. After
    participating in text, scripting, and cinema workshops with Ana
    Miranda, Paulo Halm and Claudio MacDowell, in 2005 he released his first fictional book: Contos Cinematográficos Volume I.

  4. Hello yo me llamo Nathasa estoy aprendiendo Español. Ya le domino muy bien, me gusta la música clásica soy de Valencia. Mi madre es inglesa y mi padre es español. Yo siempre e vivido en Londres. Soy rubia, tengo el pelo rizado y los ojos verdes. Soy esa típica chica nueva que está en el penúltimo curso de instituto y es una «empollona» por así decirlo, a mi me encanta la música, leer, cantar bueno yo canto en el coro de la Iglesia, aunque alguna vez canto algo en inglés porque estoy acostumbrada a ello. Estar aquí esta muy bien pero es un poco raro tras aver venido de inglaterra ace apenas un año y medio. Quiero preguntar:¿Qué que debo hacer para hablar el Español perfectamente? Y… ¿Hablo bién el Español?

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