Vals Número 3 - Natalia (Cover mandolin)

in dsound •  8 months ago  (edited)


The waltz, of European tradition by nature, arrived in Venezuela in the middle of the 19th century to acquire its own personality there, especially from the rhythmic point of view, which distinguished it radically from the European one, going on to be called Venezuelan waltz since then, although it maintained the harmonic and formal structure inherited from the norms of the European tradition. As the years went by, its popular character was losing strength at the same time that it acquired weight as a concert piece, condition in which it would later show an important development in the field of classical guitar.

Antonio Lauro (1917 - 1986)
Master Antonio Lauro
It is here that one of the most internationally renowned Venezuelan masters, Antonio Lauro, intervenes, whom the Australian guitarist John Williams graciously called "the Strauss of the guitar", and whose creations are today obligatory repertoire in music conservatories all over the world. Born in Ciudad Bolívar of Italian immigrant parents, maestro Lauro made a brilliant career in Venezuela as a composer and performer, and today is considered one of the leading Latin American masters of classical guitar.

Waltz No 3, "Natalia".
His famous waltz "Natalia", a brief piece of less than three minutes duration (three sections that are repeated complete) but of high technical exigency, is one of the sixteen Venezuelan waltzes that he wrote throughout his life and one of those pieces that cannot be absent in the repertoire of the instrument. The work dates from 1940 and for twenty-five years was simply called Waltz No. 3, but the affection of father in the appropriate circumstances made it take the name of his daughter Natalia, who has been kind enough to leave the story here referred to with hair and signs:
"When dad composed the waltz, he still didn't marry my mom and it was about 10 years before I was born. The piece was part of a booklet that had three waltzes and that was the number three. When I turned 15, there was already a version for orchestra and dad took me out to dance, it was played by Daniel Milano's orchestra. Dancing, he dedicated it to me and told me that from that day on the song would have my name on it...".


El vals, de tradición europea por naturaleza, llegó a Venezuela a mediados del siglo XIX para adquirir allí personalidad propia, sobre todo desde el punto de vista rítmico, que lo distinguía radicalmente del europeo, pasando a llamarse desde entonces vals venezolano, aunque mantuvo la estructura armónica y formal heredada de las normas de la tradición europea. Con el paso de los años, su carácter popular fue perdiendo fuerza a la vez que adquiría peso como pieza de concierto, condición en la que más tarde mostraría un importante desarrollo en el campo de la guitarra clásica.

Antonio Lauro (1917 - 1986)
Maestro Antonio Lauro
Es aquí donde interviene uno de los maestros venezolanos más reconocidos internacionalmente, Antonio Lauro, a quien el guitarrista australiano John Williams llamó gentilmente "el Strauss de la guitarra", y cuyas creaciones son hoy repertorio obligatorio en los conservatorios de música de todo el mundo. Nacido en Ciudad Bolívar de padres inmigrantes italianos, el maestro Lauro hizo una brillante carrera en Venezuela como compositor e intérprete, y hoy es considerado uno de los principales maestros latinoamericanos de la guitarra clásica.

Vals nº 3, "Natalia".
Su famoso vals "Natalia", una breve pieza de menos de tres minutos de duración (tres secciones que se repiten completas) pero de alta exigencia técnica, es uno de los dieciséis valses venezolanos que escribió a lo largo de su vida y una de esas piezas que no puede faltar en el repertorio del instrumento. La obra data de 1940 y durante veinticinco años se llamó simplemente Vals No. 3, pero el cariño del padre en las circunstancias apropiadas hizo que tomara el nombre de su hija Natalia, quien ha tenido la amabilidad de dejar aquí la historia referida con cabellos y señales:

"Cuando papá compuso el vals, todavía no se casó con mi mamá y pasaron 10 años antes de que yo naciera. La pieza formaba parte de un folleto que tenía tres valses y que era el número tres. Cuando cumplí 15 años, ya había una versión para orquesta y papá me llevó a bailar, fue tocada por la orquesta de Daniel Milano. Bailando, me lo dedicó y me dijo que a partir de ese día la canción tendría mi nombre...".


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Thank you for sharing the great recording and the most interesting background information.

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Thank you too for listen and appreciate my record and performance! It's a pleasure. 😃

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Hi, @digitalopus!

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como siempre, excelente!

Gracias hermano. 😃

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Muy bueno, muy agradable oir y disfrutar vals... Saludos

Muchas gracias mi estimado. 😃

Posted using Partiko Android