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Facundo Agudin, Orchestre Musique des Lumières - Generación Cortázar (2021)

Facundo Agudin, Orchestre Musique des Lumières - Generación Cortázar (2021)
  • Title: Generación Cortázar
  • Year Of Release: 2021
  • Label: IBS Classical
  • Genre: Classical
  • Quality: flac lossless +Booklet
  • Total Time: 00:48:15
  • Total Size: 242 mb
  • WebSite:
Tracklist

01. Rocamadour
02. Tercera generación: Oscuro
03. Tercera generación: Danza judía
04. Tercera generación: Circo diabólico
05. Tercera generación: Tango estático
06. Tercera generación: Tango diabólico
07. La noche boca arriba: No. 1, La motocicleta
08. La noche boca arriba: No. 2, Ambulancia
09. La noche boca arriba: No. 3, Huele a guerra
10. La noche boca arriba: No. 4, Caía la noche
11. La noche boca arriba: No. 5, El tiempo sagrado
12. La noche boca arriba: No. 6, Al volver el día
13. La noche boca arriba: No. 7, Boca arriba
14. La noche boca arriba: No. 8, Entre las hogueras

Facundo Agudin, Orchestre Musique des Lumières - Generación Cortázar (2021)


Rocamadour, composed by Pablo Ortiz (1956) opens up an aesthetical enigma for the listener: the letter from La Maga (Rayuela, 1963) inspires an orchestral fantasy, abstract and virtuosic, stylistically akin to minimal music but strongly anchored in a disquieting, dark rhythmic obstinacy, close to Uruguayan candombe. La noche boca arriba, by Julio Viera (1943) is technically a melodrama: an orchestral composition that includes a narrative, meticulously rendered in the score. In our production, the text materializes in the voice of Lisandro Abadie, and Marcelo Nisinman is in charge of the subtle bandoneon part. The piece includes almost the totality of the original story. Viera’s colorful palette projects itself on every scene: the motorcycle on the damp Paris pavement, the accident, the repeated losses of consciousness at the hospital, the violent moves in the rainforest. Every instant is subtly and vividly described in an almost film-like language. Tercera Generación, by Marcelo Nisinman (1970) was inspired by a brief and powerful text, published in Último Round (1969). The piece is marked by a powerful rhythmic force. Nisinman writes without prejudice: one can sense Mahler’s stare hiding behind a dense tango-smoke.

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