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Colorful and Exotic

By Antonio Cabrero

The classic music repertoire became rich in exotic melodies, especially with the Russian romantic composers, given their proximity to places like Manchuria, Mongolia, and the Balkans.

Colorful and Exotic
An exciting piano evening
With Maestro Antonio Cabrero
Tue, Mar 15, 6pm
Teatro Ángela Peralta
VIP 350, general 200
To benefit the San Miguel International Symphony
Tickets available at Teatro, La Biblioteca, and la Conexión

It was implied in the Romantic Movement, after the strict rules of the Austro-German tradition, that one had to become a traveler, adventurer, and explorer searching for the musical inspiration needed and the musical scales and materials to come up with a more personal and distinct language in which the only rule was “no more rules.”

Rimsky Korsakoff was the captain of a Russian marine vessel. He traveled the world and surely he had a piano aboard. He was a musician first, a captain second.

Music then became “descriptive,” trying to evoke the sumptuous and voluptuous oriental palaces or an atmospheric idyllic scene in a mysterious forest with a beautiful maiden sleeping under a spell, or even to paint with musical textures and colors the rising of a full moon, or to induce in all of us the dreamy drowsiness and passions of a faun’s siesta. After all, the mythological world is the most foreign and exotic of places that are imaginary. Or are they? At any rate, the only way humanity knows how to get there is through art.

In the case of Claude Aquille Debussy, the master French composer, aptly named Aquille (Achilles) for the task at hand, he had to invent a new way to get there. Such style became defined by critics as “Impressionism,” a term originally intended to be derogatory with respect to paintings with diffused lights and colors and strokes. Therefore, this term applied to music has become “to paint with music.”


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