FUGA CON PAJARILLO ALDEMARO ROMERO PDF

Arranged by Rafael Arias, Gustavo Rodriguez. Published by Rafael Arias S0. Typically played on the cuatro, a four-stringed Venezuelan instrument similar to a ukulele, the pajarillo is like a modified waltz with the accent on the weak beat. The theme is then transformed in the development with complex rhythms giving a sense of improvisation and contrasts with the predetermined fugal form.

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Skip to main content. Log in Favorites Help. Advanced Search. Find results with: error div. Add another field. Search by date Search by date: from after before on from: to to:. Searching collections: Aldemaro Romero Archive.

Add or remove collections. Home Aldemaro Romero Archive Sheet 1. Reference URL. Add tags. Not premiered. Subject Wind quintets Bassoon, clarinet, flute, horn, oboe Canons, fugues, etc. Bassoon, clarinet, flute, horn, oboe Composers -- Venezuela Music -- Venezuela Date Coverage Temporal Physical Description 1 musical score , 57 pages ; Title Sheet 1. Add tags for Sheet 1. View as list View as tag cloud report abuse.

Post a Comment for Sheet 1. Thumbnails Content Fuga con Pajarillo Wind quintet version. Sheet 1. Sheet 2. Sheet 3. Sheet 4. Sheet 5. Sheet 6. Sheet 7. Sheet 8. Sheet 9. Sheet Fuga con Pajarillo Wind quintet version.

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Aldemaro Romero Fuga con Pajarillo para Cuerdas. Aldemaro Romero was a self taught Venezuelan pianist, composer, arranger and conductor working in a wide range of musical styles. These included Caribbean, jazz, Venezuelan dances, and various classical genres: works for large orchestral works, solo and chorus and orchestra, and chamber music. He is credited with the creation of a new form of Venezuelan music Onda Nueva New Wave which was derived from the traditional dance Joropo and influenced by Brazilian Bossa Nova style. In he acquired government funding to found a second major orchestra in the Venezuelan capital, the Caracas Philharmonic Orchestra.

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Fuga con Pajarillo (Wind quintet version)

Review By Joe Milicia Click here to e-mail reviewer. V enezuelan wunderkind Gustavo Dudamel has been getting a great deal of attention lately: rave reviews for guest appearances with leading orchestras, recordings for Deutsche Grammophon of the Mahler Fifth and Beethoven Fifth and Seventh; and of course his appointment as music director of the Los Angeles Philharmonic to succeed Essa-Pekka Salonen. Fiesta, his new recording of Latin American music, got an ecstatic review from The Gramophone. The visceral impetus with which Dudamel plants firecrackers under his orchestra outplays anybody else -- out-Lennying Lenny [Bernstein] even It's that good, completely unheralded in fact. I can't go that far, but it's still a pretty exciting CD, not to mention generous in its 76" length, and the repertoire is of considerable interest. Let me turn to those "new" composers first.

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