Maestro Alfredo Speranza

Pianist - Composer – Teacher

+

ALFREDO SPERANZA is one of the last great figures of the romantic tradition of the Pianist-Composer whose most prominent examples were Chopin, Liszt, Schumann, Albeniz, up to Rachmaninoff in the mid 1900.

Speranza was born in Montevideo (Uruguay) the 8th of January of 1930, and since 1983 he has been an Italian citizen

He estabilished his own School of Piano in 1959 in Rimini, the city where he lives, and so far 79 of his pupils have graduated, several of whom have won over 120 national and international competitions.

Speranza, who studied under Gieseking and Zecchi, had previously studied in Uruguay under Maestro Baranda Reyes, already a pupil of Josè Iturbi.

During 65 years of career as a concert pianist (he gave his first concert in November 1937 in Buenos Aires), he performed over 2900 concerts all over the world (New York : Carnegie Hall; Saltzburg : Mozarteum; Paris : Salle Pleyel; Milan : Piccola Scala, Vancouver : Royal College).

He gives lessons for highly accomplished students in various cities throughout Europe and America, the most recent of which include Vancouver, Geneve, Horn (near Vienna – Allegro Vivo Festival) and Misano Adriatico (near Rimini).

In april 1999, during a solemn ceremony, he received honorary citizenship of the city of Rimini.

He records for DME Master label, and his entire repertoire is currently published by Edizioni Musicali Bérben-Ancona.

The Institute Governing Board of Editors and the International Directory of Distinguished Leadership awarded him a Nomination to have his biography included in the “Millennium Editor 2000” dictionary, dedicated to the most important figures in the world of Politics, Sciences and Art.

In june 2001 the Interational Biographial Center of Cambrige named him “Man of the Year” for his teaching and composing skills.

Malagueña by Ernesto Lecuona Interpreta Liberace

Cuando Lberace , visito La Habana, ciento de miles
de entusiastas, siguieron cada paso lo que el pianista
hacia. Se vendieron ciento de camisas, blusas, anillos pintura
de uña con brillo. Liberace fue un exitaso....

Ernesto Lecuona
From Wikipedia, the free encyclopedia


Ernesto Lecuona y Casado (August 6, 1895 Guanabacoa, Havana, Cuba - November 29, 1963 Santa Cruz de Tenerife, Canary Islands, Spain) was a Cuban composer and pianist of Canarian father and Cuban mother, and worldwide fame. He composed over six hundred pieces, mostly in the Cuban vein, and was a pianist of exceptional quality. [1][2]

Lecuona started early studying piano under his sister Ernestina, a famed composer in her own right. He later studied at the Peyrellade Conservatoire under Antonio Saavedra and the famous Joaquin Nin. Lecuona graduated from the National Conservatory of Havana with a Gold Medal for interpretation when he was sixteen. And he performed outside of Cuba at the Aeolian Hall (New York) in 1916.


Ernesto Lecuona: dedicated to Gonzalo Roig
He first travelled to Spain in 1924 on a concert tour with violinist Maria de la Torre; his successful piano recitals in 1928 at Paris coincided with a rise in interest in Cuban music.
He was a prolific composer of songs and music for stage and film. His works consisted of zarzuela, Afro-Cuban and Cuban rhythms, suites and many songs which are still very famous. They include Siboney (Canto Siboney), Malagueña and The Breeze And I (Andalucía). In 1942, his great hit, Always in my heart (Siempre en mi Corazon) was nominated for an Oscar for Best Song; however, it lost to White Christmas. Lecuona was a master of the symphonic form and conducted the Ernesto Lecuona Symphonic Orchestra. The Orchestra performed in the Cuban Liberation Day Concert at Carnegie Hall on October 10, 1943. The concert included the world premiere of Lecuona's Black Rhapsody. Lecuona gave help and the use of his name to the popular touring group, the Lecuona Cuban Boys, though he did not play as a member of the band. He did sometimes played piano solos as the first item on the bill.
In 1960, thoroughly unhappy with Castro's new regime, Lecuona moved to Tampa. Lecuona lived his final years in the US. He died 3 years later at Santa Cruz de Tenerife at age 68, and is interred at Gate of Heaven Cemetery in Hawthorne, New York A great deal of Lecuona's music was first introduced to mass American audiences by Desi Arnaz, a fellow Cuban and Lucille Ball's spouse.


Ernesto Lecuona
circa 1935
Lecuona's talent for composition has influenced the Latin American world in a way quite similar to George Gershwin in the United States, in his case raising Cuban music to classical status.
Ernesto and Ernestina's cousin, Margarita, was another accomplished musician and composer. She was the author of the song "Babalú", made popular in the Latin American world by Miguelito Valdés, and in the United States by Desi Arnaz (who, contrary to popular folk lore, did not write the song).
[edit]Selected compositions

Jorge Bolet Cuba

Jorge Bolet (Piano)


Born: November 15, 1914 - Havana, Cuba
Died: October 16, 1990 - Mountain View, California, USA

The brilliant cuban-born American pianist, Jorge Bolet, studied began serious study of the piano at age 5 under the direction of his sister Maria. He played his first public recital at age 9 and appeared as soloist with the Havana Sinfonica at age 10. In 1927, he was awarded a scholorship to The Curtis Institute of Music in Philadelphia, where he studied with David Saperton (piano) and Fritz Reiner (conducting). During this period he also played often for, and received coaching from, Josef Hofmann and Leopold Godowsky (1932-1933). At 16, he appeared as a soloist with the Curtis Symphony Orchestra under Fritz Reiner in Carnegie Hall.

Upon his graduation in 1934, the Cuban government sent Jorge Bolet to Europe for further training under Moriz Rosenthal (1935). While there, he began his concert career, making his European debut in Amsterdam in 1935, and appearing subsequently in Vienna, Berlin, Paris, London, The Hague, Milan, and Madrid and other Spanish cities. His North American debut was in 1937, a performance with the Philadelphia Orchestra under Eugene Ormandy. He then continued his training with Rudolf Serkin. This was followed by his New York recital debut at Town Hall in 1937 as winner of the Naumburg Award. He returned to Town Hall in 1940 as the first and only winner of the Josef Hofmann Award given by the Curtis Institute (1938). He served as Rudolf Serkin's assistant at the The Curtis Institute of Music from 1939 to 1942.

At the outbreak of World War II, Jorge Bolet joined the Cuban army and as a lieutenant served at the Cuban Embassy in Washington under regime of President Batista. After the Batista government fell, Bolet joined in 1942 the United States Army and became an American citizen. While stationed in Tokyo with the Army of Occupation, Bolet conducted the Japanese prémiere of The Mikado by Gilbert and Sullivan, and made several appearances as soloist with the Nippon Philharmonic Orchestra.

Following his separation from the service, Jorge Bolet pursued additional training with Abram Chasins. He then resumed his interrupted career. As both recitalist and soloist with orchestra, Bolet toured extensively throughout the world. He performed with most of the major orchestras including Amsterdam, Berlin, Boston, Chicago, Cleveland, Copenhagen, Detroit, Los Angeles, Madrid, Minnesota, Oslo, Pittsburgh, and New York. He was known to an even wider audience through radio and television appearances on such programs as the Bell Telephone Hour.

Jorge Bolet's first recordings appeared in the early 1950's on the Boston and Remington labels, and include a much-acclaimed performance of Prokofiev's Concerto No. 2. A leading interpreter of the music of Franz Liszt, Bolet recorded the soundtrack for Song Without End, a 1960 (or 1961) film on the life of Franz Liszt. It was not until the early 1960's that he gained wide recognition as a cvirtuoso in the grand Romantic manner. In sebsequent years, he toured all over the globe. His playing, though, was condemned by American critics for decades as too focused on virtuosity. Hence he only made a few recordings for smaller labels in the 1960's. His playing was featured on releases from RCA Victor, Everest, Ensayo, Genesis, Opus, Columbia/CBS, and Vox.

Jorge Bolet came to prominence in 1974 with a stupendous recital at Carnegie Hall, which set a seal on his reputation. Bolet, stung by years of neglect, showed exactly what he could do and his phenomenal playing can be heard on CD's issued most recently by Philips in their Great Pianists Series. In 1984, the A&E Network broadcast a series of three programs entitled Bolet Meets Rachmaninoff, in which the pianist was shown giving master-classes on Piano Concerto No. 3 (Sergei Rachmaninov), or, as it is popularly known, "The Rach Third". This is followed on the series by a complete performance of Bolet playing the concerto. The Decca/London recording company contracted him in 1978, so that Bolet got his first major record contract at the age of 63. They made recordings of key sections of his repertoire from 1978 up to his death, but there are also tapes of many live concerts which can be found in archives, principally the International Piano Archive at Maryland. These include a speciality of his, which he studied with the composer himself: the J. Strauss/L.Godowsky Fledermaus paraphrase.

Jorge Bolet served as professor of music at the Indiana University School of Music in Bloomington from 1968 to 1977, and from 1977 as the Head of Piano Department at the Curtis Institute in Philadelphia (succeeding Rudolf Serkin). He also conducted numerous master-classes around the world. His health began to decline in 1988, and in 1989 he underwent a brain operation from which he never fully recovered. He died from heart failure in October 1990, at his home in San Mateo (Mountain View), California.

Jorge Bolet is particularly well remembered for his performances and recordings of large-scale Romantic music, particularly works by Franz Liszt and Frederic Chopin. He also specialised in piano transcriptions and unusual repertoire, including the fiendishly difficult works of Leopold Godowsky, many of which Bolet had studied with the composer himself. In an interview given to Elyse Mach (Great Contemporary Pianists Speak for Themselves; Dover Books on Music), Jorge Bolet extensively mentioned the "Romantic Piano Concerto" by Joseph Marx which was, according to Bolet's own words, his favorite among the great virtuoso concertos because of the enormous show of strength required from the soloist.

Throughout his career, Jorge Bolet bucked the system endorsing and performing on Baldwin and C. Bechstein pianos worldwide. When others aligned with the Steinway piano, he chose to show a different approach and a unique broadly varied tone through the non-standard instruments. It is common knowledge that Bolet's best Decca/London recordings were on the Baldwin SD-10 concert grand. Some of the most celebrated, near the end of his career, were made with Charles Dutoit and the Montreal Symphony Orchestra (Orchestre symphonique de Montréal). Most pianophiles agree that the most perfect piano sound and tone (through masterful piano technical preparation) was the last Decca/London solo piano recording of Debussy.

Fiesta Ernest Hemingway San Fermin 2009 Saludos desde Tijuana

e shock treatments. He also lost weight, his 6-foot (183 cm) frame appearing gaunt at 170 pounds (77 kg, 12st 2 lb).

Toreros en Tijuana
Plaza Monumental

Agua Caliente Boulevard

Alfredo Leal


Emilio Rodriguez

Alfredo Leal

Antonio Lomelin

El Cordobes

Mauro Liceaga

Fermin Espinosa

Jaime Rangel

Eloy Cavazos

Pepe Ozuna

Jose Ramon Tirado

Gabino Aguilar

Raul Garcia

Robert Ryan actor

Antonio Ordoñez

Efram Adame

Manuel Capetillo

Gaston santos

Edith Evans

In Memoria

Mario Moreno " Cantinflas "

Lord Kingsborough Antiguedades de Mexico

Los Manuscritos Iluminados igual a los
Codices son testimonios de pasadas
epocas. La mayoria de manuscritos
y iluminados y codices fueron comisio-
nados por reyes. Unas Quien tiene la
suerte de contemplar algun manus-
crito o codice , nunca podra olvidarlo.
Mi primer encuentro con los codices
fue a traves de Lord Kingsborough .
Sir Edward King vizconde de Kinsborough
[ib;ocp en el año de 1831 el bellisimo
libro " Antiguedades de Mexico ", despues
de publicado en Europa Antiguedades de
Mexico, cientos de miles de europeos
despertaron el interes por el Nuevo Mundo
a traves de Mexico.
Las reproduciones que Lord Kingsborough
publico son:

Codice Mendicino o Coleccion Mendoza
Biblioteca Budleyana de Oxford ( Consta de
73 laminas)

Codice Telleriano - Remensis Biblioteca
Nacional de Paris ( 93 laminas)

Codice Boturini o Tira de la Peregrinacion
Museo Nacional de Arqueologia de la Ciudad
de Mexico. ( Coleccion Boturini fue recupera
do por Mexico )

Codice Bodley Biblioteca Bodleiana de Oxford
( 40 laminas )
Rollo Selden o Codice Selden I Biblioteca Bodleiana
( 20 laminas )

Codice Selden II Biblioteca Bodleina ( 12 laminas)

Estos fueron los primeros seis Codices que apa-
recieron en el Primer Tomo



Edward King, Lord Kingsborough

1795-1837

Lord Kingsborough, born in 1795, was the firstborn heir to an Irish Earl. He was a wealthy student at Oxford University. There, as a result of American victories, he became disillusioned with politics. After graduation he was elected to the House of Commons. He did not seek re-election. He became fascinated by Bodley Codex in the Oxford Library and became convinced that ancient Mexicans descended from “Lost Tribes of Israel.”

Lord Kingsborough spent his life trying to prove the Jewish origin of Mexicans. He compiled texts, manuscripts, and hundreds of engravings. He also accumulated explanations and interpretations of the Mayan codexes Mendicino, Telleriano-Remensis, and the Vatican codex. Lord Kingsborough devoted his time and wealth to publishing Antiquities of Mexico (9 vols.) from 1831-1848. In his work he reproduced the History of the Things of New Spain, by Bernardino de Sahagun; the Mexican Chronicle, by Fernando de Alvarado Tezozomoc; the Chichimeca History by Fernando de Alva Ixtilxochchitl, as well as many others.

All of this publishing led to great debts with the paper manufacturers. He was imprisoned as a result. Kingsborough’s imprisonment caused a scandal among London society. Kingsborough died while in prison in 1837 at the age of 42. He would have inherited his father’s title the following year. Kingsborough’s research was far from partial. His materials were poorly organized. Despite his apparent failings he succeeded in bringing many rare works to the attention of scholars, provided copies of fragile documents, and published early scholar’s material like Brasseur. His work has a high level of scholar dignity.

Abe Books Manuscritos iluminados

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Illuminated manuscripts are among the most elegant treasures in the rare book world. First created over 2000 years ago, they are handwritten (or otherwise produced without machines) documents with drawings or paintings of ornate initials, borders, floral accoutrements, vines and more to accompany the text. Many illuminated manuscripts also include depictions of historical or pastoral scenes.
Frequently included in devotional prayer books, the artwork was so exceptionally striking that it often served as a status symbol or display of wealth. Nowadays, original illuminated manuscripts are scarce and extremely collectible. But you're in luck - due to the surpassing beauty of the pieces, artists have painstakingly recreated the illuminations in facsimiles and reproductions, many of which are downright affordable, and absolutel

MORTE D'ARTHUR: A POEM
Tennyson, Alfred Lord, 1809-1892
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Publisher: Chatto & Windus, London
Publication Date: 1912
Binding: Full-leather
Illustrator: Alberto Sangorski (1862-1932)
Book Condition: Fine
Edition: First edition thus
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Foolscap quarto (10.12 x 7.75") bound in contemporary burgundy morocco, triple gilt rules, pointelle gilt edges, two raised bands, and richly gilt inner dentelles of grapes and the vine; hand marbled end papers, top edge gilt by Sangorski & Sutcliffe--a Sangorski production throughout. 21, [3] pp. All pages printed one side only on Japanese vellum. Illuminated in "gold and colours upon ivory-surface paper in facsimile of the Artist's Original Drawings." Light smudge to the top margin of pages 13 and 17 else interior is fine. The hand bound binding is very fine. --Includes the above descriptive bibliography with accompanying color photograph laser printed on Southworth parchment, neatly folded and laid in. More photographs of MORTE D'ARTHUR: A POEM are currently available for web-browsing, or we will be happy to email them to you. Spirit Dancer Books, books and service to make your Spirit dance. Bookseller Inventory # 001655

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The History of the Monastery Founded at Tynemouth - 2 vol set
Gibson, William Sidney
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Publisher: William Pickering., London
Publication Date: 1846
Binding: Hardcover
Edition: Limited Edition.
Description:

Three colour plates and several tinted or semi-coloured plates. 78 superb chromolithographic illuminated dropped capitals at each chapter as well as to some paragraphs.Numerous b/w plates including fold-outs. Numerous b/w vignettes :: 380mm x 290mm (15" x 11") :: De-luxe limited edition with outstanding chromo/painted illumination. Maroon cover has tooled trellis decoration. Back cover of Volume One has several scratches. Spines scuffed and grazed. Gilt titles still readable. Minor browning to prelims. Text on the whole is clean and bright. Page edges with minor browning and slight thumbing. Small indent (catch) in middle of page edge through 35 pages at the beginning of Volume One. The plates are printed on heavier paper than the text and they have a marginal stain which reaches around the top and outside edge. In some cases it does impinge onto the plate. Hand-colouring and gilt-work on motifs in text is bright. Hand-colouring and gilt-work on plates is bright. Precise and detailed coloring. The staining is throughout both volumes and affects the heavier paper that the plates are printed on. The plate guards have restricted the browning from opposite pages, unless it is another plate. The beginning of the book has more staining which recedes towards the back of both volumes. Published: 1846-7. G : in Good condition without dustwrapper. Some rubbing and bumping to covers. Teg. Rare. Red half-leather with red embossed boards. Bookseller Inventory # 4088b

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Bibliographic Details

Publisher: William Pickering., London
Publication Date: 1846
Binding: Hardcover
Edition: Limited Edition.
Description:

Three colour plates and several tinted or semi-coloured plates. 78 superb chromolithographic illuminated dropped capitals at each chapter as well as to some paragraphs.Numerous b/w plates including fold-outs. Numerous b/w vignettes :: 380mm x 290mm (15" x 11") :: De-luxe limited edition with outstanding chromo/painted illumination. Maroon cover has tooled trellis decoration. Back cover of Volume One has several scratches. Spines scuffed and grazed. Gilt titles still readable. Minor browning to prelims. Text on the whole is clean and bright. Page edges with minor browning and slight thumbing. Small indent (catch) in middle of page edge through 35 pages at the beginning of Volume One. The plates are printed on heavier paper than the text and they have a marginal stain which reaches around the top and outside edge. In some cases it does impinge onto the plate. Hand-colouring and gilt-work on motifs in text is bright. Hand-colouring and gilt-work on plates is bright. Precise and detailed coloring. The staining is throughout both volumes and affects the heavier paper that the plates are printed on. The plate guards have restricted the browning from opposite pages, unless it is another plate. The beginning of the book has more staining which recedes towards the back of both volumes. Published: 1846-7. G : in Good condition without dustwrapper. Some rubbing and bumping to covers. Teg. Rare. Red half-leather with red embossed boards. Bookseller Inventory # 4088b

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