This page lists all recordings of Fuga con Pajarillo from from Suite for Strings No. 1 (Orchestral version) by Aldemaro Romero (). Aldemaro Romero Archive. Add or remove collections. Home arrow Aldemaro Romero Archive arrow Sheet 1 Fuga con Pajarillo (Wind quintet version). Aldemaro Romero (March 12, – September 15, ) was a Venezuelan pianist, composer, arranger and orchestral conductor. He was born in Valencia.
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Dudamel’s Fiesta Recording a selection of Latin American pieces after a Beethoven and a Mahler disc is not as far-fetched as it may seem.
Fuga con Pajarillo (Suite for string s no.1)
You know, learning to dance is part of our culture – dancing is in our blood Latin music is all about dance, about rhythm. And we try to put this spice into all of our music.
With Mahler – the second movement of the Fifth Symphony is so full of energy – or the last movement of Beethoven 7, or the first movement – there is a feeling of dance. To us, there is a close connection, because music is first of all energy and movement. Mahler and Beethoven are important, but it’s also important to have the opportunity to present our own music.
For this recording we decided to choose small pieces rpmero different composers, to show the beauty of Latin American music. We created a little mosaic of the pjaarillo.
It’s like a party, a fiesta. Leonard Bernstein’s spirited Mambo, a nod to Latin exuberance from the North, which the Venezuelans have made their own, rounds off the collection.
I met Maestro Romero five years ago at a party, and when I decided to play his music, he was very happy.
It’s like a waltz, but with the accent on the weak beat – not ‘one two three, one two three,’ but ‘one two three, one two three’. It’s not a comfortable dance! This is what makes this piece so fascinating.
You can feel the beach in this piece. You can feel the air and smell the water. It’s full of life, but also nostalgic – one of the songs he uses is a children’s song, a tune we sing when we play games.
For this recording, we had the amazing opportunity of having Castellanos’ son, who is also a conductor, playing the celesta in the orchestra.
He brought his father’s manuscripts of the piece to the rehearsals. The plains were inviting to vast herds of cattle brought in during the colonial era by the llaneros, Venezuela’s answer to the American cowboy.
The composer came from Los Llanos, and the piece pays homage to that place. Venezuela has a great many orchestras of a high standard. They love to play. Music changed our lives – music is our life.
Aldemaro Romero – Wikipedia
We give our all with every performance. And all that can be heard in this recording. Mediodia en el Llano 4. Fuga con Pajarillo 6. Danza del trigo 8. Los peones de hacienda 9. Danza final Pajarillk