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| Programa general | Hotel Hilton | Chapala | Tuesday 25 Venue: Auditorio del Hotel Hilton Guadalajara Program Celajes El arroyuelo Adiós, adiós Para ti Sylvia Souvenir El comienzo (Tema musical) Qué tristeza. Del brazo y por la calle El viento Intermedio La primavera El verano El otoño El invierno Plenilunio Cristal Esperanza Petite Sutil Preludio para piano o arpa Guadalupe Corona, harpist
She has appeared as soloist and member of different camera music groups in forums and festivals not only in Mexico, but Canada, the USA and Brazil. She won First Prize in the National Harp Competition in 1995, and received scholarships from the Federal District Government and the FONCA, Fondo Nacional Para la Cultura y las Artes (FONCA), recording her CD “Encuentros” with that support. She taught harp at the Conservatorio Nacional de Música and started the harp program at the Escuela Estatal de Iniciación Musical “Julián Carrillo”, in San Luis Potosí. As beneficiary of the FONCA scholarship and the BBVA Bancomer Art Support Foundation, she revised and published all the harp work written by Mario Ruiz Armengol. She is now preparing to produce the recording of the complete harp works of Mr. Armengol and produces the documentary series "Cinco siglos de Música en México" (Five Centuries of Music in Mexico). Mario Ruiz Armengol “My dream, since I first Heard Rimsky Korsakov’s Scheherazade, I must have been 16 or 17, was: I want to be like that, that’s how I want to write music.”
Without abandoning his work but wanting to write concert music, in 1936 he studied harmony and counterpoint with José Rolón, to study later on, in 1948 with Rodolfo Halffter, who became his friend and motivated him to write his Siete Ejercicios de Composición y Armonía, to finally create his first concert music, Prelude for Piano or Harp. Ruiz Armengol was a very important figure in the jazz style of his time, and his music was interpreted by Claude Gorton, Al Hirt and Cy Colman. In 1954, the music magazine Billboard appointed him “Mister Harmony” chosen by a panel of musicians like Duke Ellington, Billy Mays and Claire Fisher. Though Mario Ruiz Armengol never stopped writing popular music, it was not until 1960 that he decided to devote most of his time to concert music, and in this catalog, he has a long list of piano and chamber music, bur also orchestral, flute, violin, violoncello and harp pieces. Due to the enormous variety of music styles and authors that influenced him, from Latin American rhythms originated in Cuban music and ‘danzoneras’, going through jazz and concert music with composers like Manuel M. Ponce, Nikolai Rimsky Korsakov, Claude Debussy, Maurice Ravel, Sergei Rachmaninoff and Igor Stravinsky, he could create a very personal style, a unique lyrical language, depurated along his career, and transforming it till obtaining music of great quality, beauty and sensitivity. Harp Music Mario Ruiz Armengol harp music is the most important written for this instrument by a Mexican composer during the XX Century, particularly important in his catalog because those are the first serious compositions he wrote. Written between decades of the 50’s and 70’s, they show us a little known facets of the composer in his first approaches to concert styles, and his transition from popular to classic. Mostly impressionist, with great command of harmony, they also have high technical and interpretative quality, and some of them have become part of the official Mexican and Latin American competitions harp repertoire. On a personal level, Mario Ruiz Armengol was closely linked to this instrument because his sister Judith played the instrument. He began to write for the harp after meeting Carmen Roselló, member of a family of outstanding harpists, and a harpist herself, who played for the Bellas Artes Opera. Rodolfo Halffter and Miss Roselló encouraged him to write for the instrument. She would become, years later, his second wife. For a certain period in his life, the harp was a fundamental instrument for his first steps in his concert music that also influenced his radio and TV music with “Qué Tristeza”, musical theme for the film “Del Brazo y por la Calle”, first heard through XEW in 1953, ant music for “El Comienzo”, a TV series. Ruiz Armengol had a close relationship with the best Mexican harpists of his time, and dedicated them several pieces: “Sutil” to Javier Zavala; “Cristal” to Lidia Tamayo; “Plenilunio” to Martha Beltrán; “Para ti” to his sister, Judiht Ruiz Armengol; “Esperanza” to Esperanza Guzmán, an excellent harpist and his mother-in-law, and “Preludio Para arpa o piano” written for Carmen Roselló. Thus, in addition of the musical value enclosed in his work, Mario Ruiz Armengol offers us a valuable sample of the harp and music atmosphere of his time. Mario Ruiz Armengol and his harp work This recital is offered as part of the complete multidisciplinary Project entitled “Del Brazo y por la Calle… Reflection on harp works by Mario Ruiz Armengol”. This has been a work of research, rescue and making known his work. It has been carried on since 2006 by Tierra Roja Producciones under Olimpia Corona direction and documentarist. During four years there have been video-concert-documentaries under the same name, and the score book “Obra completa Para Arpa de Mario Ruiz Armengol” was published, including previously unpublished scores. Series of conferences and concerts have been given to make this Mexican composer harp music known.
| Programa general | Hotel Hilton | Chapala | |
She is the main harpist of the Orquesta Filarmónica de Jalisco. She made her music studies at the Conservatorio Nacional de Música and the Victoria Conservatory of Music in Canada. She has been Main Harpist of the Victoria Civic Orchestra, the Greater Victoria Youth Orchestra, the Orquesta Sinfónica Carlos Chávez, Orquesta Sinfónica de la Universidad Autónoma of the State of Hidalgo and the Orquesta Sinfónica in San Luis Potosí. She collaborates regularly with the main orchestras of the country.
Born in Veracruz on March 17, 1914, he started to play the piano when he was 7, and made his debut as an orchestra conductor in Leopoldo Beristáin’s company when he was fifteen. He became part of the XEW radio station founders when he was sixteen, gaining fame as composer, arranger and orchestra conductor. He had a successful career as a broadcasting pioneer, supporting pillar of the modern bolero and the subtle bolero feeling, thus becoming one of the main popular music figures in Mexico during the first half of the XX Century.