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Genre: Microtonal

Info:

The Second Suite in E Minor for orchestra corresponds to the first period —the romantic period— of don Julián Carrillo. It was composed in 1908, when the author was 33 years old, and he dedicated it to the teacher Justo Sierra. It is the only symphonic work of his inspired by a popular song of that time; for this reason it is also known as the “Suite de los Naranjos” (“Orange Suite”).

The work consists of four times. In the first, Lento Allegro, the English horn introduces the theme of the song; second theme is presented by the clarinet and the violas.

The second time, Andante, is structured around a dialogue between the horn and the clarinet. This theme, like the first beat of the work, develops with great intensity, only interrupted by the melancholic accents of the horn.
The third beat, Andantino, has a rare orchestral color, due to the effects produced by the muted horns and the flutes in the lower register. The English horn is heard with a wild and somber theme. For their part, the woodwinds present a bucolic phrase, which is then taken up by the strings and the harp.

The end of the suite, a fugue, was modified by the author years later, in his second period —the atonal— already in full control of his compositional technique.

 

[Notes of a student of Julián Carrillo]

 

PRIVATE EDITION

Gallery:


Tracklist:

Orange Suite
SIDE 1
  • A1 1st. Part ?
    Lamoureux Symphony Orchestra from Paris
SIDE 2
  • B1 2nd. Part ?
    Lamoureux Symphony Orchestra from Paris

Credits:

Lamoureux Symphony Orchestra from Paris


Links:

Julian Carrillo – Suite Los Naranjos
Julian Carrillo SONIDO 13 Suite LOS NARANJOS Private Press 197?
ORQUESTA SINFONICA LAMOREAU PARIS SUITE LOS NARANJOS JULIAN CARRILLO MEXICAN LP

Sold For:

Highest Price:
$4500 MX
Medium Price:
$2950 MX

Condition:

Media Condition:
Mint (M)
Sleeve Condition:
Mint (M)

Mexican composer, conductor, violinist and music theorist (Ahualulco, San Luis Potosí, January 28, 1875 – Mexico City, September 9, 1965). He is known for his theory on microtonal music which he dubbed 'The Thirteenth Sound' (Sonido 13).

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