CCCXCVI. BALADA, Leonard (1933- )
Fantasías Sonoras (1987)
Barcelona Symphony Orchestra
Matthias Aeschbacher, cond.
(12:39)
Born in Barcelona, studied composition at Juilliard with Persichetti.
**
In 1972, back in Pittsburgh after my studies in Paris with Boulanger (who had discouraged me from composing for two years, while I learned theory and ear-training), I started writing a multi-media piece for solo oboe.
In 1972, back in Pittsburgh after my studies in Paris with Boulanger (who had discouraged me from composing for two years, while I learned theory and ear-training), I started writing a multi-media piece for solo oboe.
I was wandering around the Music Department at Carnegie-Mellon University, looking for an oboe player, when I ran into this distinguished-looking gentleman, who -- seeing sheafs of manuscript paper tucked under my arm -- asked me if I was composer.
He introduced himself, and I sheepishly and somewhat stupidly blurted out that his name was unfamiliar to me.
"That's okay," he replied without a trace of indignation. "Nobody's heard of me."
**
Decades later -- while browsing through the Naxos catalogue -- I discovered several CDs from a series entitled "21st Century Classics."
Nevermind that all the works are from the 80's, I was excited to finally hear this man's music.
Decades later -- while browsing through the Naxos catalogue -- I discovered several CDs from a series entitled "21st Century Classics."
Nevermind that all the works are from the 80's, I was excited to finally hear this man's music.
**
Fantasías Sonoras is from 1987, and was commissioned for the newly built Benedum Center in downtown Pittsburgh -- a wonderful addition to the city's art scene which went through hard times after all the steel mills closed and Pittsburgh had to re-invent itself ...
It's a spectacular piece of music. Balada refuses to be characterized as belonging to this-or-that school (Minimalism, Serial, Transmorgrifier of Folk Music, etc.) -- his music is completely surprising. As you listen, be on the lookout for:
- 00:00: A minimalist-sounding opening with a repeated xylophone riff, which mingles with the orchestra;
- 01:13: Emerging from the spreading sonic texture, a muted trumpet and piccolo emerge ...
- 01:48: Suddenly, a two-note harp riff, presently joined with the piano playing counter-rhythms and the xylophone ...
- 02:30: An insistent intrusion by the violins, and suddenly a completely new rhythmic motif takes over ... soon joined by high violin harmonics.
- 02:55: This lovely four-note whole-tone phrase becomes prominent:
- 03:39: Pizzicato ... a dancing oboe, clarinets, trombones ...
- 04:49: In a descending chromatic movement, the brass seem to be laughing. Fantasías Sonoras!
- 07:51: Quoting Tra-la-la-lee! with constantly shifting imitation, the orchestra builds to a tremendous climax.
- 10:39: Following another build-up to an (anti-)climax, the air becomes ethereal -- instruments poking their heads in and out -- Balada uses the orchestral color palette like a master ...
- 11:55: Full orchestra, sounding both tonal and polytonal -- and a solo violin and cello play a duet ... massive rallentando ... and then
- 12:29: A splayed-out atonal chord with a shaking tambourine that sounds like a rattlesnake.
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