MUSIC FROM THE AMERICAS presents
LOW FREQUENCY TRIO (Mexico)
New Music from Latin America
January 30th, 7:30 pm
Keller Hall, UNM Center for the Arts
Cristian Villafañe (Argentina) ¿Qué orilla?
Cecilia Arditto (Argentina) Viajes de las frecuencias en el agua
Wilfrido Terrazas (Mexico) Hub of the mind
Michel Soto (Mexico) Bug Core
Aldo Lombera (Mexico) Mezcolanzas
Formed by Antonio Rosales (bass clarinet), Juan José García (doublebass), and José Luis Hurtado (piano), LOW FREQUENCY TRIO is one of the few ensembles in the world that plays music that was exclusively composed for them. Its members are highly active in the international contemporary music scene and as a trio they have performed and held residencies at the Centro Mexicano para la Música y las Artes Sonoras, Centro de las Artes of San Luis Potosí, Conservatorio de las Rosas in Morelia, Festival Ecos y Sonidos, Festival Internacional Cervantino, the Museo Universitario de Arte Contemporáneo MUAC UNAM, and the Palacio de Bellas Artes in Mexico, the University of Texas UTRGV, and the University of New Mexico in the U.S., as well as the Universidad Nacional de Quilmes and the Conservatorio Manuel de Falla in Argentina. Since its foundation in 2016, LF3 has collaborated with more than 20 young and established composers in the creation and performance of fresh and innovative new works for this unique instrumentation which collective sound is yet to be discovered and repertoire until now was practically nonexistent.
Dr. Kristina Jacobsen, Assistant Professor of Ethnomusicology, releases book
The Sound of Navajo Country: Music, Language and Diné Belonging (University of North Carolina Press), examines cultural intimacy and generational nostalgia on the Navajo (Diné) Nation (click here for brief interviews in English and Italian about her research).
Spain the ‘Eternal Maja’: Goya, Majismo, and the Reinvention of Spanish National Identity in Granados’s Goyescas.
This talk will explore the influence of artist Francisco Goya (1746-1828) on one of the greatest masterpieces of Spanish music, the Goyescas suite for solo piano by Enrique Granados (1867-1916).
‘Sol y Sombra’: Music in Images in the Arts of New Spain presented by Ray Hernández-Durán
Scenes depicting musicians performing are found in a range of colonial art forms. Here, I briefly explore religious music from the 16th century through an examination of mission design and manuscript illuminations, and secular or profane music from the 18th century represented in genre paintings, domestic spaces, and biombos.