Mexican pianist Mauricio Náder, one of the most active and iconic figures on the Latin American music scene today, presents virtuoso pieces by U.S. and Mexican composers, showcasing a vast spectrum of styles, techniques and emotions. He performs regularly at major venues in the United States, Latin America, Europe and Asia, and has given private recitals for former presidents of Mexico, France and Spain. His repertoire, ranging from Baroque to 21st century, includes many pieces written especially for him. He has recorded over 30 CDs as a soloist, member of a chamber music ensemble and vocal accompanist. For more info please visit his website www.mauricionader.net
These concerts are being supported by the UNM Department of Music, UNM Dean’s circle fund, UNM Latin American and Iberian Institute, National Hispanic Cultural Center, Mexican Consulate in Albuquerque, Mexican Education Foundation of New Mexico, and the National Institute of Fine Arts of Mexico.
Lecture-Recital
NOVEMBER 13, 11 am
Keller Hall UNM CFA
NOVEMBER 14, 7:30 PM
Albuquerque Journal Theatre
National Hispanic Cultural Center
PROGRAM
Ricardo Castro (Mexico) / Vals Capricho Op.1
Leonardo Velázquez (Mexico) / Micropiezas
Carlos Chávez (Mexico) / Noche aguafuerte
José Luis Hurtado (Mexico) / Explosive landscape
Gustavo Morales (Mexico) / Rapsodia Mexicana No.1
Henry Cowel (US) / Aeolian harp
George Gershwin (US) / Three preludes
George Antheil (US) / Toccata No.2, Can Can
Morton Gould (US) / Boogie the Woogie, Boogie Woogie Etude
Dr. José Luis Hurtado awarded prestigious Guggenheim Fellowship
Composer and pianist José Luis Hurtado, an associate professor in The University of New Mexico’s Department of Music in the College of Fine Arts, is one of the 2020 winners of the prestigious Guggenheim Fellowship.
You Can’t Tell It Like I Can: Black Women, Music, and the Struggle for Social Justice in America
This lecture/performance explores how black women have used music as a method of shaping the public rhetoric and sentiment surrounding the black civil rights struggle in America. Through a historical framework that moves through the height of the abolitionist movement, the Popular front during the 1930s and 1940s, the frontlines of the direct action campaigns of the 1960s, and the proliferation of the Black Power movement in the 1970s.
An Americanish Songbook: Linda Ronstadt’s “other” Country
This talk will consider performances and recordings by singer Linda Ronstadt to propose what I refer to as her Americanish musical songbook. The suffix “ish” here intends to accentuate the “somewhat” or “to some extent” of “American” that Ronstadt—Tucson born and raised—lived and sonically imagined through her extraordinary musical career.