Spanish Modernist Music and the New World
Julian Orbon (1925-1991) was a new name to me and once again Naxos came to the rescue and introduced him to me – the disc I have includes his Symphonic Dances and the Concerto Grosso for orchestra and quartet [8.557368]. Orbon was born in Aviles, Asturias and although he travelled widely and finally settled in New York, he never forgot his roots and a happy connection is that on this CD the music is performed by the Asturias Symphony Orchestra. (I mention this cheap label a great deal but there is no connection between us, other than my admiration for their enterprise! Currently there are 26 discs in their Spanish Classics series).
Orbon’s mother died when he was young and in 1940 he and his father left Spain permanently for Cuba where he became involved with a group of artists and writers who advocated the convergence of American, Spanish and European ideas. Ramon Garcia-Avello in his excellent notes for the Naxos CD, refers to his assimilation of Cuban and American music. For a time he was taught by Aaron Copland. Politically he became disenchanted with the Castro regime, having earlier been involved in the Revolution. Choosing exile, he accepted an invitation to teach in Mexico in 1960. He always retained his Spanish citizenship, was thrilled when invited to participate in Madrid’s Iberian-American Music Festival of 1967, and last visited Asturias in 1986.
And the music? There are certainly signs of convergence. You can detect the Copland influence in the Symphonic Dances, which is the third piece on this disc. But I hear English influences too – Walton, the early Britten (composing in the U.S.A. in the early 1940’s), and even the eclectic Malcolm Arnold who luxuriates in the modern symphony orchestra as much as clearly Orban does, though perhaps with more confidence. If to my ears not sufficiently memorable, this small sample of his music sounds like the music of a composer who loved and wanted to celebrate the traditions of his native country, without being enslaved to them. I would like to hear more.
B.R.
Orbon’s mother died when he was young and in 1940 he and his father left Spain permanently for Cuba where he became involved with a group of artists and writers who advocated the convergence of American, Spanish and European ideas. Ramon Garcia-Avello in his excellent notes for the Naxos CD, refers to his assimilation of Cuban and American music. For a time he was taught by Aaron Copland. Politically he became disenchanted with the Castro regime, having earlier been involved in the Revolution. Choosing exile, he accepted an invitation to teach in Mexico in 1960. He always retained his Spanish citizenship, was thrilled when invited to participate in Madrid’s Iberian-American Music Festival of 1967, and last visited Asturias in 1986.
And the music? There are certainly signs of convergence. You can detect the Copland influence in the Symphonic Dances, which is the third piece on this disc. But I hear English influences too – Walton, the early Britten (composing in the U.S.A. in the early 1940’s), and even the eclectic Malcolm Arnold who luxuriates in the modern symphony orchestra as much as clearly Orban does, though perhaps with more confidence. If to my ears not sufficiently memorable, this small sample of his music sounds like the music of a composer who loved and wanted to celebrate the traditions of his native country, without being enslaved to them. I would like to hear more.
B.R.
posted by Euroresidentes at 8:41 AM
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