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गाणी ग्रंथालय
Zen Virtual Piano वर Miguel Angel Valda यांच्या पियानो शीट्स पाहा. Born in Sucre on 8 May 1885, Miguel Ángel Valda Paredes showed a great sense of music and an extraordinary memory from an early age, which helped him learn several instruments. At fifteen, in 1901, he became a pupil of the master Manuel Caballero, who taught him piano, guitar and flute. On Sundays he went out beyond the edge of the city to watch the peasant festivities, and because he wrote music easily he could copy down the songs the local musicians played, eventually gathering almost a thousand. A boy with a strong memory who spent his Sundays copying village songs suggests an early habit of treating the music around him as something worth writing down. He also entered the University of Chuquisaca and graduated as a lawyer, and he later served as a municipal officer and as a criminal court judge. He founded the Valda string quartet in Sucre and organized several estudiantinas, which are music groups made up of students. A working life split between the courts and the concert room hints at a composer who wrote alongside another career. During the golden age of Bolivian music he met with other leading musicians and formed a first-rank group known as the five great composers: Simeón Roncal, Miguel Ángel Valda, José Lavadenz, Telmo Solares and Belisario Zárate. He composed cuecas such as Sed de amor, Marquesita and Rosas y violetas, to words by the poet Rafael García Rosquellas, and the Coro de Sucre gave their first performances. Correo del Sur reports that a nineteen-year-old from Cochabamba collected 46 of his piano works in a book called Reminiscencias Musicales de Bolivia, among them six tristes, three caluyos, an Indian prayer and 36 cuecas. Premieres by a choir and a later book gathering his piano pieces suggest a body of work that passed through several hands, and that was also kept alive partly by being handed on by ear, as Correo del Sur notes for some of the cuecas. His pieces follow the dance forms of Bolivia, the cueca and the kalluyo, with hexatonic scales and a raised third or sixth degree here and there, so that they sound thoroughly Bolivian. Panchita is a woman's name, and the piece is in E minor with a melody in the E Dorian mode. In a time when the people's own music was not valued, his works and those of his teacher Roncal were left off concert programs, replaced by arrangements of opera overtures and Strauss waltzes. He died on 27 October 1957. A composer whose folk-based pieces were pushed aside for opera arrangements hints at a gap between what concert halls favoured and what people actually sang, a gap his pieces seem to have been written to cross.
Zen Virtual Piano वर Miguel Angel Valda यांच्या पियानो शीट्स पाहा.
Born in Sucre on 8 May 1885, Miguel Ángel Valda Paredes showed a great sense of music and an extraordinary memory from an early age, which helped him learn several instruments. At fifteen, in 1901, he became a pupil of the master Manuel Caballero, who taught him piano, guitar and flute. On Sundays he went out beyond the edge of the city to watch the peasant festivities, and because he wrote music easily he could copy down the songs the local musicians played, eventually gathering almost a thousand. A boy with a strong memory who spent his Sundays copying village songs suggests an early habit of treating the music around him as something worth writing down.
He also entered the University of Chuquisaca and graduated as a lawyer, and he later served as a municipal officer and as a criminal court judge. He founded the Valda string quartet in Sucre and organized several estudiantinas, which are music groups made up of students. A working life split between the courts and the concert room hints at a composer who wrote alongside another career.
During the golden age of Bolivian music he met with other leading musicians and formed a first-rank group known as the five great composers: Simeón Roncal, Miguel Ángel Valda, José Lavadenz, Telmo Solares and Belisario Zárate. He composed cuecas such as Sed de amor, Marquesita and Rosas y violetas, to words by the poet Rafael García Rosquellas, and the Coro de Sucre gave their first performances. Correo del Sur reports that a nineteen-year-old from Cochabamba collected 46 of his piano works in a book called Reminiscencias Musicales de Bolivia, among them six tristes, three caluyos, an Indian prayer and 36 cuecas. Premieres by a choir and a later book gathering his piano pieces suggest a body of work that passed through several hands, and that was also kept alive partly by being handed on by ear, as Correo del Sur notes for some of the cuecas.
His pieces follow the dance forms of Bolivia, the cueca and the kalluyo, with hexatonic scales and a raised third or sixth degree here and there, so that they sound thoroughly Bolivian. Panchita is a woman's name, and the piece is in E minor with a melody in the E Dorian mode. In a time when the people's own music was not valued, his works and those of his teacher Roncal were left off concert programs, replaced by arrangements of opera overtures and Strauss waltzes. He died on 27 October 1957. A composer whose folk-based pieces were pushed aside for opera arrangements hints at a gap between what concert halls favoured and what people actually sang, a gap his pieces seem to have been written to cross.
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