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Luigi Boccherini - Musica notturna delle strade di Madrid

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Published on Nov 10, 2012

http://batutaselibretos.blog.com



Compositor (composer): Luigi Boccherini (1743-1805)
Título (title): Musica notturna delle strade di Madrid, C Major, G. 324 Op. 30
Modalidade (genre): Quinteto (Quintet)
Instrumento (instrumentation): 2 violinos (2 violins); 1 viola, 2 violoncelos (2 cellos)

Movimentos (movements): Le campane de l'Ave Maria -- The Ave Maria Bell; the main church calls the faithful for the Ave Maria prayers. Il tamburo dei Soldati -- The Soldiers' drum. Minuetto dei Ciechi -- The Minuet of the Blind Beggars; Boccherini directed the cellists to place their instruments upon their knees, and strum them, like guitars. Il Rosario -- The Rosary, a slow section not played in strict time. Passa calle -- The Passacaglia of the Street Singers, known as Los Manolos, lower-class loudmouths; not a true passacaglia, yet imitates their singing. In Spanish, pasacalle denotes "pass along the street", singing as one seeks amusement. Il tamburo -- The drum. Ritirata -- the retreat of the Madrid military night watch; the Watch's patrol, announcing the curfew, and closing the streets for the night.


Descrição (description):

Musica notturna delle strade di Madrid describes the bustling streets of night-time Madrid; about the composition, critic Jaume Tortella writes: "Taking its inspiration from nocturnal street scenes of Madrid, it seems to look back nostalgically to the gaiety and bustle of Spain's capital, recalling the sound of the city's church bells ringing for evening prayer, the popular dances that were the delight of its young people, and the blind beggars singing their typical viellas de rueda until the soldiers from the local garrison sound the midnight curfew with their Retreat."

The Night Music of the Streets of Madrid was published years after Boccherini's death, because, he told his publisher: "The piece is absolutely useless, even ridiculous, outside Spain, because the audience cannot hope to understand its significance, nor the performers to play it as it should be played."

Since the mid-twentieth-century revival of interest in the music of Luigi Boccherini, the Ritirata became well-known; Luciano Berio used it as the basis for a composition superimposing the four known settings of the Ritirata, all playing concurrently, ebbing and flowing synchronously and asynchronously. Despite its slightly jokey nature, like Berio's folk-song settings, his Ritirata interpretation is attractive and approachable, acknowledging and expanding upon Boccherini's composition.(www.wikipedia.com)

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