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Events

In Conversation with Antoni Pizà

In Conversation with Antoni Pizà is a series of interviews and dialogues with artists and intellectuals.  Mostly centered around music and the experience of listening, the series explores broader concerns including history, memory, and identity.

You may watch these conversations here:

https://www.youtube.com/@apiza26

 

 

International Symposium: Paco de Lucía and The Americas

International Symposium: Paco de Lucía and The Americas

PacoDeLuciaProgram

An international symposium dedicated to exploring the indelible sway of the Americas on Paco de Lucía and, conversely, the impact of Paco de Lucía on the music and the musicians of the Americas.

To mark the tenth anniversary of Paco de Lucía’s passing this conference will investigate the transformative influence of Paco de Lucía (Francisco Sánchez Gómez, 1947-2014) on the global concert stage. Paco de Lucía was undoubtedly one of the most important contributors to the history of the guitar. His music transcended and transformed the genres of classical, jazz, and flamenco guitar, and his virtuosity as an instrumentalist, encompassing his unique fusions of Spanish musical idioms with North American, Caribbean, and Latin American genres, continues to influence classical, flamenco, jazz, pop, and world music today by drawing together the musical legacies of Africa, the Americas, and Europe.

Join acclaimed musicians and prestigious scholars from around the world to honor and celebrate the antecedents and the legacy of this remarkable artist.

 

Thursday, March 7, 2024 ― 9:30 am-6:00 pm

The Segal Theater, CUNY Graduate Center

365 Fifth Avenue @ 34th St

Free Admission ― Registration is required.

www.gc.cuny.edu

212-8178215

 

Organizing directors:  Antoni Pizà & K. Meira Goldberg

Presented by:

The Foundation for Iberian Music at Brook Center for Music Research and Documentation

The CUNY Graduate Center

This event has already received some attention from some media outlets.  K. Meira Goldberg is interviewed here.

For the full program click here:

PacoDeLuciaProgram

This symposium is part of the Flamenco Festival NY 2024. Click here for the Festival’s full program:

FlamencoFestival

Conference on Iberian Historical Male Voices and the Press

 

The Sociedad Española de Musicología has just announced this conference to be held in Palma de Mallorca (March 20, 21, and 22 2024) and Antoni Pizà (Foundation for Iberian Music) is a member of the Scientific Committee.

Read the full information here:  https://xiimuspres.com/

Cartelxiimuspres

XII MUSPRES

Congreso internacional 

La comisión de trabajo de la Sociedad Española de Musicología“Música y prensa” (MUSPRES), en colaboración con el grupo de investigación “Musurba“, de la Universidad Internacional de Valencia (VIU) y el grupo de investigación del “Institut de Musicologia Pau Villalonga” se complacen en organizar el Congreso internacional  “Divos: las voces masculinas de ópera y la prensa”, en memoria del gran bajo mallorquín Francisco Uetam. 
Este es el duodécimo encuentro científico impulsado por la mencionada comisión de trabajo de la SEdeM. Desde el año 2013, el grupo “Música y prensa” ha sido el anfitrión de congresos anuales con el objetivo de fomentar y compartir investigaciones musicológicas basadas en fuentes hemerográficas. Esta convocatoria se centra en la ópera y, de forma más específica, en los cantantes varones que han representado en escena personajes inolvidables, desde el emperador Carlos a Lohengrin, pasando por Figaro, Fausto o Werther.
En el XII MUSPRES, exploraremos el legado dejado por los cantantes de ópera desde nuevas perspectivas y contextos actuales, pero siempre a partir de la prensa. ¡Esperamos contar con vuestra participación!

 

Comité científico 

Dr. Francesc Cortès i Mir (Universitat Autònoma de Barcelona)
Dra. Bàrbara Durán (Institut de musicologia Pau Villalonga)
Dr. Enrique Encabo (Universidad de Murcia)
Dra. María Ordiñana (Universidad Internacional de Valencia)
Dr. Antoni Pizà (Foundation for Iberian Music)
Dr. Alberto José Vieira Pacheco (Universidad Nova de Lisboa)
 
 
Dirección del congreso 
Dra. Eugenia Gallego Cañellas (Universidad Internacional de Valencia)

Sociedad Española de Musicología – Música y Prensa (MUSPRESS)

 

Antoni Pizà, Foundation for Iberian Music, The Graduate Center, The City University of New York, will present the following paper:

“Cómo eliminar casi todas las claves del solfeo y morir en el intento: Los intentos frustrados de Francisco Frontera de Valldemosa reflejados en la prensa española y europea”

En 1837, el cantante, compositor, pedagogo y gestor musical Francisco Frontera de Valldemosa (Palma, 22 de septiembre de 1807 — Palma, 7 de octubre de 1891) publicó en París un peculiar tratado de solfeo encaminado a eliminar o, al menos, reducir las claves del solfeo.  En ediciones sucesivas, el libro acabaría llamándose Equinotación ó Nuevo sistema musical de llaves. El breve volumen consta de dos partes. La primera detalla la reducción de todas las claves a sólo tres. La mayoría de las claves —arguye el autor— son innecesarias y, además, retrasan o incluso pueden llegar a abortar la creatividad musical del joven estudiante. La segunda parte es una curiosa antología de música que incluye en la página izquierda fragmentos musicales en su notación original, y en la página opuesta, a la derecha, en su transcripción al nuevo sistema de equinotación, o sea sin claves “innecesarias”. A pesar de que el sistema de Frontera no logró imponerse, la prensa española y europea reflejaron la originalidad del método y la posible necesidad de un sistema así: en Francia, la Revue et gazette musicale, L’Orphéon, La presse teatrale; en España, El león español, La España, La Libertad, El Artista, Revista y gaceta musical, La Correspondencia de España; en Italia, Bocherini, Il Pirata, Gazzetta musicale di Napoli, etc.  A pesar del éxito entre muchos críticos y profesores, Hippolyte-Raymond Colet (Uzès, 5 de diciembre de 1808 – París, 21 de abril de 1851) denunció el tratado por plagio e inició una polémica en la prensa denominada la querelle des cléfs en la que participaron varios críticos, profesores y teóricos musicales. Inquebrantable en sus convicciones y sin una resolución clara del posible plagio, Frontera publicó tres ediciones más de su tratado, una de ellas poco antes de morir.

New Conference on the Transatlantic Circulation of Knowledge

After the a very successful series of conferences and publications on the circulation of music and ideas across the Atlantic, including Celebrating Flamenco’s Tangled Roots: The Body Questions (2022); “Natives, Africans, Roma, and Europeans: Transatlantic Rhythms in Music, Song, and Dance” (published in Música Oral del Sur 2020); “Spaniards, Indians, Africans and Gypsies: The Global Reach of the Fandango in Music, Song, and Dance” (also in Música Oral del Sur 2015); Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma (2019); and The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies (2017), now the Societat Catalana de Musicologia has issued a call for papers.

Music, Migration, and the Exchange of Knowledge

Spain – North America – Latin America

A bicontinental symposium at the Institut d’Estudis Catalans, Barcelona, 28–29 November 2024, and at the Barry S. Brook Center for Music Research and Documentation, CUNY, Graduate Center, New York, 22–23 April 2025

Convenors & Coordination:
Tina Frühauf (The CUNY Graduate Center, New York / RILM)
Andrea Puentes-Blanco (IMF-CSIC, Barcelona & Societat Catalana de Musicologia)

Dates:
Barcelona symposium: November 28–29, 2024
New York symposium: April 22–23, 2025

Abstracts should be sent through this form https://forms.gle/3NjBa4tsj3x2uw6a8 by 15 March 2024 in English or Spanish. Participants must indicate whether they want to participate in the Barcelona symposium in 2024 or in the New York symposium in 2025. For individual papers: abstracts of c. 350 words; for panels: abstracts of c. 300 words of the proposal as a whole and c. 200 words on the contribution of each participant. Applicants will be notified by 1 June 2024.

For more information visit the symposium website: https://sites.google.com/view/bicontinentalsymposium/home

Publications by Antoni Pizà in The News

The Way of the Moderns (Brepols, 2022) by Antoni Pizà was prominently featured at the American Musicological meeting in Denver in November 2023.  Additionally, the literary podcast Ciutat Maragda dedicated an extensive segment to La dansa de l’arquitecte (Ensiola, 2012).  You may want to hear to the whole podcast here.

 

 

 

For an excerpt only, click here (in Catalan):

 

 

Additionally, the volume THE BODY QUESTIONS (Cambridge, 2022) has been reviewed and recommended the prestigious journal Revista de Investigación sobre flamenco “La Madrugá.”  You may download the article here: BodyQuestions_Uribe

Andrea Puentes at The Foundation for Iberian Music (Brook Center)

Andrea Puentes-Blanco was a Visiting Scholar at the Foundation for Iberian Music (The Brook Center, The City University of New York) from April to July 2023. Puentes-Blanco is Tenured Researcher at the Consejo Superior de Investigaciones Científicas [CSIC, Spanish National Research Council], Institución Milá y Fontanals de Investigación en Humanidades (Barcelona, Spain). During her stay at the Brook Center, Puentes-Blanco worked on her research project entitled ‘Exploring Spanish Traditional Music Holdings in US Libraries’ whose aim is to research Spanish traditional music holdings in US libraries and archives that were collected in Spain, mostly by American ethnomusicologists or anthropologists, and Spanish-speaking folk music in the United States collected from Spanish immigrants or from people of Spanish origin. A case in point is Puentes’ research on the legacy of our late colleague and mentor Henrietta Yurchenco (1916-2007). This research is part of a broader current research project entitled “Digital development of the Fondo de Música Tradicional IMF-CSIC” [Desarrollo digital del Fondo de Música Tradicional IMF-CSIC] funded by the Spanish Ministry of Science and Innovation from 2022 to 2024. Puentes is currently planning an international conference to be held in Barcelona (CSIC, 2024) and NY (Foundation for Iberian Music at the Brook Center, 2025.)

Paulino Capdeón’s Researches on Iberian Music

Many of our colleagues are able to keep a prolific scholarly activity, but just a few do so maintaining the highest possible scientific standards.  A case in point is Professor Paulino Capdeón, catedrático of musicology at the Universidad de Castilla-La Mancha and Director of the Centro de Investigación y Documentación Musical de Castilla-La Mancha. Dr. Capdeon has had and continues to have, a distinguished career as a teacher and researcher with more than forty books and two hundred scholarly papers.  His publications frequently focus on eighteenth-century Spanish music, see for example his recent and very rigorous edition of Antonio Soler’s music and also the much commented influence of Italian music on Spanish repertories.  His interests, though, often veer also towards the mainstream musical repertoire that is usual at the concert hall, see for example his study of Beethoven’s reception in Spain. Very often, many of his scholarly interests have centered on extending this same mainstream concert hall repertoire.  Thus he has researched lesser-known composers bringing their life and works to the attention of scholars, musicians, students, and, ultimately, the general public.  A good example of these endevors are his studies on Ramón Garay (1761-1823) and music theorist Tomás Vicente Tosca (1651-1723), as well as his research on important centers of musical life such as the Colegiata de Santa María la Mayor de Talavera de la Reina.  In sum, we celebrate the many scholarly achievements of Professor Paulino Capdeón as a an example of intellectual scrupulousness and scientific rigor.

 

 

Marc Migó awarded the Foundation for Iberian Music Composer’s Commission 2022

Marc Migó has been awarded the Foundation for Iberian Music 2022 Composer’s Commission. The composer has written a series of twelve piano preludes entitled L’ILLA DESERTA:  Preludes for Piano, Book 1, about which Migó has written the following:

“The title “L’illa deserta” refers to a conversation I had with Dr. Philip Lasser early in my studies at Juilliard. The conversation led to being genuine in my compositional endeavors, hence, he suggested I write “desert island music.” This meant to compose without the need to prove anything to anyone but instead to follow my inner, unconditional voice, as if I was living on a desert island, far removed from civilization. Following that precept, I composed 12 preludes that make up this book which inhabits another kind of island; one not deserted but imbued with memory and dreams. Preludes 1, “Tarantella,” and 4, “Evocació,” are based on my souvenirs as a child becoming acquainted with Catalan folksongs. Prelude 2, “Elegia,” evokes the feeling of emptiness that comes when losing something precious. Prelude 3, “Scherzetto,” is a celebration of two dear friends of mine who both have exceptionally joyous and resilient personalities. Prelude 5, “Melodia,” is a homage to Myroslav Skoryk (1938-2020), a Ukrainian composer whom I admire and who embodies my affinity towards the Slavic world and Prelude 6, “Recuerdos del Casar,” invokes my Spanish roots. Despite the deep melancholy that characterizes Prelude 7, “Melangia,” the inspiration to write it did not come from any romantic heartbreak, but from the more prosaic (and, luckily, way more common) event of not being awarded a prize I had been seeking. Preludes 8 to 10 —“Tristor,” “Lament,” and “Capsa de música,” respectively—expand upon the reflective and sorrowful atmosphere captured in “Melangia.” Finally, Preludes 11, “Toccata,” and 12, “Mephisto’s Disco,” share toccata-like and virtuosic elements, the latter one being based on a particularly wild experience I had at a nightclub with a far less exciting name than that of the prelude in question.”

You may download the first prelude here:

L’ILLA DESERTA PRELUDES 5

 

You may also listen to the first prelude, “Cançó” here:

 

A full recording of the Preludes can be found here:

 

Antoni Pizà, the Director of the Foundation, expressed his gratefulness and excitement about these piano preludes, which announce the relaunch of the series Composer’s Commissions, which have had in the past many eminent composers including Tania León, Benet Casablancas, Paquito D’Rivera, Antoni Parera Fons, Albert Guinovart and many others.  See complete list here.

The work will be premiered in full by Marisa Gupta in Saratosa, FL on Dec 15, 2023 with a subsequent performance in St Petersburg, FL. In addition on September 30 Kiryl Keduk will play Preludes  8, 9, and 10 at Bechstein Hall in Berlin and Víctor Braojos will perform the same pieces in London.

Click here to watch a fascinating interview between Antoni Pizà and Marc Migó