Professional Documents
Culture Documents
1- Preludio a Colón
Del famoso compositor y teórico musical, mexicano, creador del "Sonido 13"
esta grandiosa obra.
5-Totimehuacan / meditaciones
Ex convento franciscano de totimehuacan, puebla con música de julián carrillo
6- Cometa
Cometa, a microtonal harp piece composed by Julián Carrillo (1875-1965). The
piece was played by Óscar Vargas and David Espejo.
Cometa, una pieza de arpa microtonal compuesta por Julián Carrillo (1875-
1965). La pieza fue interpretada por Óscar Vargas y David Espejo.
7- Reverie
Pieza para piano de Juliàn Carrillo autor del sonido 13 interpretada en piano
elèctrico
13- Quasi Sonata No. 1 for Cello Using 24 EDO - Mov I Como Recitativo
14- Quasi Sonata No. 1 for Cello Using 24 EDO - Mov II Como recitativo
15-Quasi Sonata No. 1 for Cello Using 24 EDO - Mov III Final
Esta primera quasi sonata tiene la inscripción: "A Juan Sebastián Bach"
Interprete: Jimena Giménez Cacho
www.gimenezcacho.com descripciones encontradas en diversos sitios
Julián Carrillo (1875-1965) se dio a la tarea de componer no una sino seis casi
sonatas Usando 24 EDO para violoncello solo y una más que alcanzó el nivel
de sonata en el título. Esto es en sí mismo una hazaña, sin contar la avanzada
edad del compositor.
Dedicated to Johann Sebastian Bach performed by Jimena Giménez Cacho
www.gimenezcacho.com
Julián Carrillo wrote not one but 6 quasi sonatas on Using 24 EDO for Cello and
one more receive the name of Sonata on the title. EDO ("Equivalent division of
the octave"/"Equivalencias divisorias de la octava")
Horizontes una pieza compuesta en 1947 por Julián Carrillo. La imagen (la parte de
abajo) es un ejemplo de su sistema de notación.
Concertino una pieza para violín, cello, guitarra microtonal, octavina, cuerno,
arpa y orquesta compuesta por Julián Carrillo, el compositor mexicano y teórico
de la música
Julian Carrillo was born on January 28, 1875 in Ahualulco, a village in the state
of San Luis Potosí. He was the last of the 19 children of Nabor Carrillo and
Antonia Trujillo, who were Native American peasants. Having not completed
primary studies, he was ignorant of the acoustic basis of music—so he was
fascinated when he heard Francisco Ortega y Fonseca, a professor of physics,
acoustics, and mathematics, discuss laws governing generation of fundamental
intervals in music. For example, when a violin string is depressed (stopped) at
its midpoint, it produces a pitch twice the frequency of (an octave above) the
open string. When a string is stopped at one-third, the remaining two-thirds
vibrates a perfect fifth higher than the open string (almost exactly equivalent to
5/8ths of an octave). Carrillo explored these relationships in experiments. For a
while he tried, but couldn't divide the string further than into eight equal
parts.Then he left the traditional way of dividing the string into two, three, four,
five, six, seven and eight equal parts, and, using a razor to stop the string,
divided the fourth string of his violin between G and A into sixteen parts. He
could produce sixteen clearly different sounds within a whole tone.
From then on, he immersed himself in the study of the physical and
mathematical basis of music.In 1899, General Porfirio Díaz, President of
Mexico, heard Carrillo as a violinist. Diaz was impressed, and gave him a
special scholarship to study in Europe.
When Victoriano Huerta's government was overthrown, Carrillo had to flee to
the United States.In New York City, he organized and conducted the American
Symphony Orchestra. He performed his First Symphony in New York. The
success of this work was so great that a journalist named him "the herald of a
musical Monroe Doctrine".In 1916, Carrillo composed music for D. W. Griffith's
film, Intolerance. In New York, Carrillo also wrote the "Thirteenth Sound Theory"
which was published later in the second volume of Musical Talks. The
Thirteenth Sound Theory was not well received. Some enthusiastic people
(most of them Carrillo's students) supported it, but others attacked it and its
author. They said it was impossible to perceive such little intervals but, even if
possible, Carrillo had stolen the idea from European musicians. The main
opponent was "Group 9", consisting of seven musicians, a physician, and a
lawyer. Carrillo's followers organized themselves as "Group 13".The two groups
confronted each other to defend their positions through press, broadcasts and
conferences.
The League of Composers commissioned a microtonal work. He wrote the
Sonata casi fantasía in quarter-, eighth- and sixteenth-tones. It was performed
for the first time in Town Hall on March 13, 1926. Then, Leopold Stokowski
commissioned a Carrillo work, the Concertino in quarter-, eighth- and sixteenth-
tones, which Stokowski and the Philadelphia Symphony Orchestra performed in
New York and Philadelphia. At that time, Carrillo wrote Leyes de Metamórfosis
Musicales (Musical Metamorphosis Laws), a method to transform the tonal
proportions of a work. For example, half tones become whole tones and whole
tones become double tones; or half tones become quarter tones and quarters
become eighths, and so on. In addition, these laws present a compositional
process similar to serialism.
In 1947 Carrillo conducted experiments at New York University examining the
node law that prevailed at the time and showed that it had to be modified. His
reasoning followed from the fact that a node is not a mathematical point but a
physical point. If a violin string is stopped below halfway, the frequency of the
bowed fraction is more than twice the frequency of its base note. He was
nominated for the Nobel Prize in physics in 1950 for this work.
Carrillo wrote many microtonal works for solo instruments, chamber ensembles
and orchestra (with and without soloists), as well as other works which he
referred to as atonal. He is generally regarded as one of the pioneers of
microtonalism.
47- Violin Concerto No. 1 Using 24 EDO - Mov I, Poco lento (part 1)
48- Violin Concerto No. 1 Using 24 EDO - Mov I, Poco lento (part 2)
Written in 1949. Robert Gendre premiered until 1964. The temper of this piece
is based on 24 EDO (24 equal division of the octave)
Suite Sinfónica "Los Naranjos". Está dedicada al Sr. Justo Sierra, Ministro de
educación en ese momento. Fue interpretada por primera vez por la orquesta
del Conservatorio Musical, dirigido por Carlos j. Meneses, en 1905.
53- Quasi Sonata No. 2 for Cello Using 24 EDO - Mov I, Solemne
54- Quasi Sonata No. 2 for Cello Using 24 EDO - Mov II, Armonicos
55- Quasi Sonata No. 2 for Cello Using 24 EDO - Mov III Final, Allegro
The 6 Quasi Sonatas for Cello Using 24 EDO* is one of his late works written in
1959 at the age of 84Based on the new*24 EDO (equivalent division of the
octave) temperament the inscription reads:A Beethoven" performed by mexican
proud cellist: Jimena Giménez Cacho
56- Quasi Sonata No. 3 for Cello Using 24 EDO - Mov I Solemne
57- Quasi Sonata No. 3 for Cello Using 24 EDO - Mov II, Allegro Agitato
58- Quasi Sonata No. 3 for Cello Using 24 EDO - Mov III Final, Lento solemne
Las 6 sonatas quasi para violonchelo con 24 EDO * es uno de sus trabajos
finales escrita en 1959 a la edad de 84 años Basado en el nuevo * 24 De EDO
(equivalente de la División de la octava) de temperamento- interpretada por
mexicano violonchelista orgulloso: Jimena Giménez Cacho
67-Suite Impromptu for guitar Using a 24 EDO - Mov III Gavota Versallesca
68- Suite Impromptu for guitar Using a 24 EDO - Mov IV Jarabe, Allegro