Estampas de La Isla del Encanto (2015-16)




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Published on Apr 29, 2017

Doctoral Dissertation Piece (DMA)

Composed and conducted by Anthony Luis Sanchez (b. 1988)

Premiere: March 24, 2017 in Ramsey Concert Hall in the Performing Arts Center at University of Georgia in Athens, GA

I. Areito of Foreshadowing
II. When the Strangers Came
Intermezzo: Call of the Bomba
III. What the Jíbaro Saw
IV. “PUERTO RICO” Jibaro Jazz
V. Out of Many, Un Pueblo

Orlando Rivera, cuatro
John Rivera, cuatro
José Berrios, cuatro
Jeff Kust, cuatro, tiple, acoustic guitar, electric guitar
Corinne Klemenc, B-flat clarinet
Rafi Rodriguez, tiple
Bryan McCauley electric bass
Cesar Muñoz, trovador
Roberto del Valle, percussion
David Rivera, percussion

Program Notes

In Estampas de La Isla del Encanto, I present a condensed timeline of Puerto Rico through musical representation. The five movements and intermezzo that comprise this chamber piece serve to accomplish three significant goals. First, this piece attempts to musically depict crucial moments in Puerto Rican history: from Pre-Columbian times, to the twenty-first century. Second, in keeping with the theory of transculturation, or cultural fusion (developed by Cuban anthropologist Fernando Ortiz in 1940), Estampas focuses on the diverse groups of people who inhabited the island. I primarily address the Taíno, Spanish,
African, and U.S. music cultures in Puerto Rico.

Third, to clearly illustrate these combinations of cultures, I use Caribbean folkloric instruments (most notably, the Puerto Rican cuatro) with other Western classical and popular music instruments. In this way, I apply instruments like the cuatro within the context of contemporary classical music. More importantly, I illustrate that all of these cultures in Puerto Rico have contributed in some form to the musical and social aspects on this island in the Hispanophone Caribbean.


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