Tomas breton - La verberna de la paloma.
MP3 Vbr 320 kbps / Js 44.1kbps - 96 Mb | Ape 207 Mb | No cue | Logs Zarzuela | Release year 1996 | 1 Cd | Total time 42'41 | Covers
Coro cantores de Madrid, director Jose Perera
Gran Orquesta Sinfnica, director Atalfo Argenta
Recording date, 1957
Toms Bretn (December 29, 1850 – December 2, 1923), was a Spanish musician and composer. Throughout his entire life, Toms Bretn was a well-known and highly-esteemed composer, especially as a result of the success of his zarzuela La verbena de la Paloma, although other works were well-received by audiences and critics, such as his peras Los amantes de Teruel, based on the famous legend, and La Dolores. After his death however, he was a forgotten figure, his extensive and interesting output remaining solely in the memory of a few. His career spanned the majority of the musical areas of the period of the Restoration (1875-1923): Conservatorium Director, reputed orchestral conductor, composer of peras, zarzuelas, symphonic and chamber music, and always an ardent defendor of dignifying music in Spain, within an environment unfavourable to the noble ideas which he passionately defended.
His principal mission was the creation of a Spanish pera, which would form the basic foundation of national music. He not only expressed these ideas in his many writings, but composed a series of works throughout practically his whole career which reflectec them, from Guzmn el bueno (1876) to Tabar (1913). His series of nine peras, two of them in only one act, form one of the most ambitious bodies of work in this genre among Spanish composers of his time. After a long polemic which delayed its premire, Los amantes de Teruel (1889) amounted to its definitive consolidation, and was followed by proposals along very different lines, such as the Wagnerian in Garn (1892) for the Barcelona Liceo and the veristic in La Dolores (1894) for the Madrilenian Teatro de la Zarzuela. His last works, despite being tied to a strong nineteenth-century tradition, contain undeniable interest, such as Raquel (1900), based on the famous romantic drama, Farinelli (1902), composed for the failed Teatro Lrico project, Tabar (1913), set in America, and Don Gil de las calzas verdes (1914), based on a comedy by Tirso de Molina.
At the same time, he approached the earth of zarzuela with unequal success. His output, although not very extensive when compared to that of his contemporaries Chap, Gimnez and Fernndez Caballero, is of great quality, given the variety of genres which he tackled. He made several attempts at composing in the zarzuela grande genre, both in a more traditional line than previous generations in works such El campanero de Begoa (1878) and Los amores de un prncipe (1881), and at the end of the century in the Circo de Parish, with El clavel rojo (1899) and Covadonga(1901), where he adopted more modern procedures, within the limitations of the genre. His greatest fame came from the gnero chico, especially La verbena de la Paloma (1894), one of the most famous zarzuelas of the Spanish repertoire, although he later composed many others which were not as successful. On the other hand, he wrote symphonic music with a singular insistence, at a time in which in Spain, orchestral ensembles barely existed. He composed and conducted numerous works for the Sociedad de Conciertos, of which he was chief conductor from 1885 to 1890. A result of this were his three symphonies (1872, 1883, 1905), revealing a strong assimilation of Beethoven's compositional techniques. His most successful works were those with a Spanish character, albeit in an Alhambristic vein –such as En la Alhambra (1887)– or a more danceable one, as in Escenas andaluzas (1894). During his last years he composes various symphonic poems with a clear, nostalgic character, such as Los galeotes (1905) based on the famous Quixote episode, and Salamanca (1916) on popular themes from his native region. In the chamber-music genre he has left us various works, including three quartets (one of which is published), as well as a trio and quintet, composed from markedly classical standpoints, influenced by the French world of Saint-Sans. His wide musical knowledge led him to tackle many other fields such as song, including a song-cycle based on Bcquer's rhymes (1886), which was followed by Las golondrinas, and the oratorio El Apocalipsis (1882) composed in Rome as one of the works written under the Academy scholarship requirements.
All this makes Toms Bretn one of the main figures in Spanish music of his time, not only because of his intense and varied activity, but also because of the quality of his works, some of which have remained unjustly forgotten, eclipsed by the crushing success of La verbena de la Paloma, which is merely a part of his magnificent output, reflected in a further 120 works catalogued.
As a side note, the prolific composer for the guitar Francisco Trrega dedicated one of his greatest masterpieces, "Capricho rabe", to D. Toms Bretn.
Tracklist
01 Preludio
02 Parlantes Y Escena
03 Seguidillas
04 Coplas De Don Hilarin
05 Soledad
06 Nocturno
07 Nocturno
08 Chulapas Y Don Hilarin
09 Mazurka
10 Do-Escena
11 Quinteto
12 Habanera-concertante
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