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Pablo Sorozabal - Las de Cain (1965)

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Pablo Sorozabal - Las de Cain (1965)

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01 Preludio
02 Terceto
03 Cuarteto
04 Duo
05 Final del acto I
06 Preludio del acto II
07 Romanza
08 Concertante
09 Numero de D. Segismundo
10 Cuarteto
11 Final del acto II
12 Preludio del acto III
13 Romanza
14 Duo
15 Final del acto III

Rosalia - Teresa Tourne
Marucha - Ana Higueras
Amalia - Caridad Vasco
Estrella - Alicia de la Victoria
Fifi - Maria Aragon
Doña Elvira - Charlito Gimenez
Alfredo - Renato Cesari
Tio Cayetano - Julio Catania
Peín - Segundo Garcia
Don Segismundo - Luis Frutos
Marín - Ramon Regidor
Tomás - Tomas Cabrera

Orquesta de Conciertos de Madrid	
Pablo Sorozábal – director


Sorozábal’s artisan family moved from the Basque countryside to San Sebastián a few years before Pablo’s birth on September 18th 1897. He was something of a child prodigy on piano and violin, earning his living in cinemas, cafés and fairgrounds, and playing with the San Sebastián Casino Orchestra under the influential Fernández Arbós. He always regretted having lost his ability to speak the Basque language: "because of the pressures of life and a centralised government policy we were forced to forget our language. I am ashamed of this and still hope, even if only at the end, to speak my dying words in the same language I used to express my first feelings¹"

In 1919 he moved to Madrid, joining the Madrid Symphony Orchestra which performed his Capricho español (1920). His distinctive musical personality was forged by study in Leipzig; and in Berlin, where he preferred Friedrick Koch as composition teacher to Schöenberg, whose theories he disliked. It was in Germany that he made his conducting debut, and the rostrum remained at the centre of his working life.

His Leipzig concert works include the choral Suite vasca (1923); Dos apuntes Vascos (1925) and Symphonic Variations on a Basque Theme (1927); the Siete Lieder, 1929 settings of Heine for mezzo-soprano and orchestra, are perhaps the finest works he produced in Germany. The ballet suite Victoriana (1951); and the powerful Funeral March Gernika for chorus and orchestra (1966) date from his later Madrid days. Two short but powerful compositions for chorus and orchestra, Maite (‘Our Lady’, from the 1946 film Jai-Alai) and ¡Ay, tierra vasca! (1956) retain their place in the hearts of his countrymen. ---zarzuela.net

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