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World Event Young Artists - José Puello and José Alvarez (classical guitar)

Thursday September 13, 2012 at 19:00
Lakeside Arts Centre, Nottingham
Free admission – a ticket is required

Phone for tickets: 0115 846 7777
Phone lines open: Mon to Fri 10 - 5pm. Sun 12 - 4pm
Other Sources: http://worldeventyoungartists.com/events/2012-09-13/jose-miguel-ando-alvarez-jos
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  1. Un Inverosímil Archipiélago for Cello, Flute and Voice - José Guillermo Puello
  2. Cojuelo Spirit - José Guillermo Puello
  3. Galipote - José Guillermo Puello

A night of contemporary classical music.

José Miguel Ando Alvarez is a classical guitarist from Bolivia who has won three of the country’s most important guitar competitions: La Paz, Cochabamba and Tarija. Representing his country further, he won the international guitar contest held in Tarija in 2010, and has continued to be held in high regard by representing Bolivia in this year’s WEYA events. Conductor of the Loyola University Guitar Orchestra in 2012, he has been integral in the development of classical guitar as an art-form, as well as being the first guitarist in twenty years to complete his study at the National Conservatory of Music. Presenting his work ‘From Dominguez to Prodencio’, Alvarez will perform a solo guitar piece in his signature classical style, with a projection screen for visual aid.

José Guillermo Puello Alfonso

Un Inverosímil Archipiélago - Music for Cello, Flute and Voice

Un Inverosímil Archipiélago separate pieces at the WEYA events, Puello highlights the versatility shared by many of the composers visiting Nottingham in September. Puello’s first piece, Un Inverosímil Archipiélago, is for cello, flute and voice, inspired by Pedro Mir’s poem ‘Hay un país en el mundo (There is a Country in the World)’. Both Puello and Mir pay homage to their shared homeland, contrasting the beautiful rural countryside with the dictatorial regime of the early 20th Century imposed by Rafael Trujillo. Puello plucks out the sadness and despair of the poem to evoke juxtaposed emotions in his audience.

‘Throughout the poem, there is constant opposition between the cruel and tragic reality of the people and the beautiful landscapes of the country. At first, they are distinctively separated, but as the piece progresses they start to overlap and ultimately, exist as one.’

Cojuelo Spirit

‘Cojuelo Spirit’ is the second piece Puello will be performing. Nine musicians, will tell the tales of the deeply rooted Dominican Carnival, a celebration adored across the country, the central characters of which being the Diablos Cojuelos, or Devils with a Limp. The legend goes that these colourful creatures were banished to Earth due to mischievous behaviour; this playfulness is plucked at in Puello’s composition, exploring the infectious Latin grooves that keep the pace of the festivities rolling, but without the use of any percussion.

Dancing is a central part to the carnival, heard clearly through the chant ‘dance on the street at night, dance on the street at day’. Thus ‘Cojuelo Spirit’ embodies this in its core, using the rhythms of the Merengue to recreate the revelry of this magnificent cultural event

Galipote - Music for Flute, Clarinet, Oboe, Basson, 2 x Violins, Viola, Double Bass, Voice and Conductor

José's third piece, ‘Galipote’ is written as a duet for two violoncellos. In Dominican folklore, the ‘Galipote’ is a violent and cruel magical creature that causes havoc by frightening and stopping people in the night. It has the ability to transform itself into either animals (e.g. dogs, birds) or inanimate objects (e.g. trees, stones). Showing great affinity with his Dominican roots, Puello explores his homeland’s cultural heritage of carnival rhythms, using the colourful flourishes of sound intrinsic to Latin-America in his own work. His primary focus in study was to contrast traditional movements of the Dominican Republic with classical music emerging from Europe, and create a duality between the two.

‘Galipote’ exposes the treacherous character of the beast, creeping from eerie silence to surging horror. The second violoncello, muted throughout most of the work, acts as an echo reflecting back the tones given by the first violoncello. As the piece progresses, the line between echo and counter-melody get blurred until the music reaches a violent peak.

Lakeside Arts Centre
University Park, University of Nottingham
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