Summary
Highlights
The session begins with a warm welcome to both in-person and virtual attendees of the "Bogotá musical internacional" course. The master shares insight into the upcoming children's opera that will be performed, highlighting the art's resilience in difficult times.
The speaker delves into the historical evolution of concert rituals. Initially, music was primarily for religious ceremonies or social gatherings. However, with the emergence of great composers like Beethoven and Liszt in the 19th century, dedicated concert halls were built, leading to the development of new concert etiquette. The speaker notes the stark contrast between 19th-century audiences, who would applaud mid-performance if moved, and modern audiences, for whom such interruptions are unthinkable.
Esteban introduces the monitors and coordinators of the course. Each monitor, including Paula Rodríguez (flautist and economist, likes LOL), Fabián Mejalano (pianist, loves cooking), Giancarmen Caucalí (jazz pianist, part of Suacha's first interactive documentary), Carlos Pérez (pianist, likes 'pasillo'), Simón Cotrina (percussionist, likes cycling), Clara Mezquita (classical guitarist, animal lover), Santiago Rincón (composition student, likes climbing), Juan Camilo Acosta (guava juice and mango lover), Felipe Zamora (classical guitarist), María Paula Gómez (violin student, studies tarot), Daniel Coronado (snores when sleeping face-up), Sebastián ('Wio' due to name changes), María Paula Pérez (chose music after political science), Jefferson Aristizábal (pianist, likes cycling), Natalie Cortés (singer, Kpop and psychoanalysis fan), and Juan Sebastián Torres (violinist, bearded since 12), briefly introduces themselves and shares a fun fact.
Students in Bogotá are instructed to go to the auditorium lobby, where tables will be set up for them to choose their monitor. Each monitor can supervise a maximum of 50 students, emphasizing the need for students to select quickly. It is critical to choose a monitor as there are many students.
Crucial guidelines for attendance and evaluation are provided. Attendance, which accounts for 55% of the final grade, is recorded twice per session via QR codes—once upon entry and once upon exit. Failure to record both scans results in a missed attendance, and three unjustified absences lead to failing the course. Virtual attendees will register via Google Forms links shared in the YouTube chat. The evaluation also includes 5% for participation through relevant questions in Google Classroom, 20% for a musical diary (bitácora) with entries for 12 concerts (each with a written description using a glossary term and an illustration), 10% for research, and 10% for two quizzes based on conferences and the glossary.
Angela leads a vocal warm-up exercise, stressing the power of the voice and encouraging students to participate without fear. She guides them through proper posture, deep breathing exercises (imagining a bakery's aroma), and lip vibrations to control breath and engage the diaphragm. The aim is to prepare students for collective singing in the opera and daily life, highlighting the importance of presence and quiet transitions in performance.
The session advances to introduce the musical glossary, emphasizing its importance in understanding musical terminology. Just as professionals in other fields use specialized language, musicians use terms like 'lento' or 'minuet' to convey both tempo and character, providing insight into the composer's intentions. Understanding these terms enriches the appreciation of music. Students are expected to learn these terms for quizzes, likening it to understanding song lyrics in a foreign language to deepen emotional connection.
The master conducts rhythm exercises, encouraging interactive participation for a brief, dynamic session. Students are directed to stand and engage in clapping and body movements, replicating the conductor's cues. The segment aims to embody musical rhythm and ensure engagement.
The concert portion begins with the Villalobos Duo, Cecilia Palma (cello) and Edwin Guevara (guitar). They perform two movements from Bach’s Sonata BWV 1027, explaining its historical context as an original piece for viola da gamba and harpsichord, highlighting Bach's innovative structure. They also play Maurice Ravel's "Pièce en forme de Habanera," detailing the rhythm's Cuban origin and its broader influence on Latin American music. They conclude with Manuel de Falla’s "Siete canciones populares españolas," describing the dramatic narratives of love, loss, and Gypsy culture behind each song.
The concert continues with clarinetist José Gómez and pianist Diego Claros. They perform Claude Debussy's "Première Rapsodie" and Sergei Rachmaninoff's "Vocalise" from his "14 Romances," Op. 34, No. 14. Gómez explains the term 'rhapsody' as a free-form musical piece, often without a fixed structure. Claros highlights the concept of 'songs without words,' where music conveys deep emotion without lyrics, enabling the audience to create their own interpretations.
The concert concludes with Richard Strauss’s "Morgan," a love song composed for his wedding. Masters Guerassim Boronkov (violin) and Ala Boronkova (vocals) join for a powerful and hopeful rendition. The piece is chosen for its themes of hope, beauty, and love, leaving the audience with an inspiring final impression. This performance brings to a close the first session of the 'Musical Universes' course.