The Venezuelan Waltz
Between Friends - Entre Amigos
El Vals Venezolano
Between Friends - Entre Amigos
El Vals Venezolano
2003
Tracks:
Tracks:
01. Sol Llanero - Aquel - 3:57
02. Sol Llanero - A Bo So - 3:04
03. Pasacalle - Viajera Del Río - 3:29
04. Pasacalle - La Mañana - 4:06
05. Rúben Dario Sulbarán - Asi Eres Tu - 3:58
06. Rúben Dario Sulbarán - Nuestra Distancia - 2:58
07. Cuerdas Criollas - Teotyste - 2:41
08. Cuerdas Criollas - Noris - 2:47
09. Orquesta Tipica Municipal De Barquisimeto - ¡ah Mundo Barquisimeto! - 3:25
10. Orquesta Tipica Municipal De Barquisimeto - Pasillaneando - 2:31
11. Caida Libre - Natalia - 3:53
12. Juan Carlos Nuñez - No Me Olvides - 3:17
13. Caracas Sincrónica - Venezuela Y Colombia - 4:18
14. Cuerdas Criollas - Cachicameando - 1:35
15. Cuerdas Criollas - Ecos - 1:44
16. Orquesta Tipica Municipal De Barquisimeto - Arreboles - 2:31
17. Orquesta Tipica Municipal De Barquisimeto - Barquisimeto - 2:28
18. Pablo Fréitez - San Trifón - 5:19
19. Pablo Fréitez - No Hay Un Solo Tiempo - 2:59
20. Pasacalle - Hola Bonita - 3:53
21. Cántaro - Venezuela Emprende El Vuelo - 2:37
22. Sol Llanero - Entre Amigos - 3:09
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Entre Amigos
On this record, ten different musical ensembles - ranging from symphony orchestra, to harp music, piano and string ensemble - offer sublime interpretations of Venezuelan waltzes. Without the friendship of these many musicians and composers, and of collaborators of Fundación Interchange and PAN-Records, this record couldn't have been produced. This may help to explain the choice of title for this unique CD.
The waltz was part of the romantic revolution in the realm of the ancient regime, first of the sentiments, later of politics, and with the 19th century it became the dance of modernity. The waltz signified a liberation from the feudal shackles of the old order, a victory of bourgeois culture; its rhythm a source of energy and spiritual regeneration. Because of its humble origins, its sensual movements, and the hypnotic trance it seemed to trigger, in conservative corners the waltz was long considered an enemy of true morals and virtue. But the waltz inevitably gained sophistication as an acceptable form of social intercourse.
During the 19th century, the waltz not only swept the Old World but also travelled along paths established by colonial relations around the world. Derived from European models, the waltz or valse swiftly crossed oceans and mountains, implanting itself in the most variegated musical landscapes and cultural niches. Simón Bolivar himself may have been one of the first to introduce this dance to Latin America.
The Venezuelan vals may well be the most sophisticated genre in Venezuelan musical culture. The vals became 'creolized' in both melody and meter, adopting elements from native - criollo, Afrovenezuelan, or even indigenous - musical traditions, and sometimes it is nearly impossible to distinguish the vals from other popular dance forms.
The dynamics of the history of the waltz in Venezuela was and still is motivated by the choices of musicians and by the ongoing dialectics between localism and cosmopolitanism.
The waltz was part of the romantic revolution in the realm of the ancient regime, first of the sentiments, later of politics, and with the 19th century it became the dance of modernity. The waltz signified a liberation from the feudal shackles of the old order, a victory of bourgeois culture; its rhythm a source of energy and spiritual regeneration. Because of its humble origins, its sensual movements, and the hypnotic trance it seemed to trigger, in conservative corners the waltz was long considered an enemy of true morals and virtue. But the waltz inevitably gained sophistication as an acceptable form of social intercourse.
During the 19th century, the waltz not only swept the Old World but also travelled along paths established by colonial relations around the world. Derived from European models, the waltz or valse swiftly crossed oceans and mountains, implanting itself in the most variegated musical landscapes and cultural niches. Simón Bolivar himself may have been one of the first to introduce this dance to Latin America.
The Venezuelan vals may well be the most sophisticated genre in Venezuelan musical culture. The vals became 'creolized' in both melody and meter, adopting elements from native - criollo, Afrovenezuelan, or even indigenous - musical traditions, and sometimes it is nearly impossible to distinguish the vals from other popular dance forms.
The dynamics of the history of the waltz in Venezuela was and still is motivated by the choices of musicians and by the ongoing dialectics between localism and cosmopolitanism.
***
Dutch ethnomusicologist Bartolomeus Duysens, of Fundación Interchange, has done a tremendous job of tracking down contemporary groups playing the form in a wide range of styles, from harp-driven joropos and violin-drenched symphonies to minimalist guitar and piano pieces. The result is a collection of romantic songs that swing on tropical hips and are steeped in the sweet melancholy of the bolero.
The disc also highlights the incredible talent of Venezuelan musicians who are rarely heard outside the country. With detailed liner notes that trace the history of the music and introduce each of the performers, this is a treat for anyone who loves the sound of strings."
Russell Maddicks, Songlines, May/June 2003
***
The Venezuelan waltz is a hall dance and accompanying musical genre that was popularized in 19th-century Venezuela.
The two main types of waltz were the hall waltz and the popular waltz. The former was typically performed on piano. Key musicians in this genre were Federico Vollmer, Manuel Azpúrua, Manuel Guadalajara, Rafael Isaza, Heraclio Fernández, Rogelio Caraballo, Ramon Delgado Palacios, and Antonio Lauro.
The popular waltz was performed on traditional regional instruments, often the violin and the bandola accompanied by guitar, triple and cuatro. Most popular waltzes had anonymous composers.
The two main types of waltz were the hall waltz and the popular waltz. The former was typically performed on piano. Key musicians in this genre were Federico Vollmer, Manuel Azpúrua, Manuel Guadalajara, Rafael Isaza, Heraclio Fernández, Rogelio Caraballo, Ramon Delgado Palacios, and Antonio Lauro.
The popular waltz was performed on traditional regional instruments, often the violin and the bandola accompanied by guitar, triple and cuatro. Most popular waltzes had anonymous composers.
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