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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
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.