Hive Open Mic - Semana 106 - Vals Num 3 "NATALIA" - Cover mandolin

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    digitalopus

    Published on Apr 22, 2022
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    Natalia.png

    Un cordial saludo musical.

    Para esta semana te presento el "Vals Número 3" , también conocido como Natalia del maestro compositor y guitarrista Antonio Laturo.
    El vals, de tradición europea por naturaleza, llegó a Venezuela a mediados del siglo XIX para adquirir allí una personalidad propia, especialmente desde el punto de vista rítmico, lo cual lo distinguió radicalmente del europeo, pasando a llamarse desde entonces vals venezolano, si bien mantenía 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 mostrará más tarde un importante desarrollo en el ámbito de la guitarra clásica.

    Antonio Lauro (1917 - 1986)
    El maestro Antonio Lauro
    Es aquí cuando interviene uno de los maestros venezolanos con mayor reconocimiento a nivel internacional, Antonio Lauro, a quien el guitarrista australiano John Williams llamó algo graciosamente "el Strauss de la guitarra", y cuyas creaciones son hoy repertorio obligado en los conservatorios de música del mundo entero. Nacido en Ciudad Bolívar de padres inmigrantes italianos, el maestro Lauro hizo en Venezuela una brillante carrera como compositor e intérprete, y hoy está considerado como uno de los principales maestros latinoamericanos de la guitarra clásica.

    Vals No 3, "Natalia"
    Su célebre 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 aquellas piezas que no pueden faltar en el repertorio del instrumento. La obra data de 1940 y durante veinticinco años se llamó simplemente Vals N° 3, pero el cariño de padre en las circunstancias apropiadas hizo que tomara el nombre de su hija Natalia, quien ha tenido la amabilidad de dejarnos referida aquí la historia con pelos y señales:

    “Cuando papá compuso el valse, aún no se casaba con mi mamá y faltaban como 10 años para que yo naciera. La pieza formaba parte de un cuadernillo que tenía tres valses y ese era el número tres. Cuando yo cumplí 15 años, ya existía una versión para orquesta y papá me sacó a bailarlo, lo tocaba la orquesta de Daniel Milano. Bailando me lo dedicó y me dijo que a partir de ese día el tema llevaría mi nombre...".

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    ENG:

    A cordial musical greeting.

    For this week I present to you "Waltz Number 3", also known as Natalia by the master composer and guitarist Antonio Laturo. also known as Natalia by the master composer and guitarist Antonio Laturo.
    The waltz, of European tradition by nature, arrived in Venezuela in the mid-nineteenth century to acquire there a personality of its own, especially from the rhythmic point of view, which radically distinguished it from the European, becoming since then called Venezuelan waltz, although it maintained the harmonic and formal structure inherited from the rules of the European tradition. With the passing of the years, its popular character was losing force at the same time that it was acquiring weight as a concert piece, condition in which it will show later an important development in the area of the classic guitar.

    Antonio Lauro (1917 - 1986)
    The master Antonio Lauro
    It is here when one of the most internationally recognized Venezuelan masters, Antonio Lauro, whom the Australian guitarist John Williams somewhat amusingly called "the Strauss of the guitar", and whose creations are today a compulsory repertoire in music conservatories all over the world, comes into play. Born in Ciudad Bolivar 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 the classical guitar.

    Waltz No. 3, "Natalia".
    His famous waltz "Natalia", a brief piece of less than three minutes in length (three sections that are repeated complete) but of high technical demand, is one of the sixteen Venezuelan waltzes he wrote throughout his life and one of those pieces that cannot be missing 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 appropriate circumstances made it take the name of his daughter Natalia, who has been kind enough to let us refer here the story with details and signs:

    "When Dad composed the waltz, he was not yet married to my mother and it was about 10 years before I was born. The piece was part of a booklet that had three waltzes and that was number three. When I turned 15, there was already a version for orchestra and Dad took me out to dance to it, it was played by Daniel Milano's orchestra. While dancing he dedicated it to me and told me that from that day on the song would bear my name...".

    Translated with www.DeepL.com/Translator (free version)

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