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“Rumbeando en la Melangolla” for Bb Clarinet, Vibraphone/Conga and amplified Contrabass, was written in 2021, during the Covid pandemic. It consists of three sections that fusions two basic moods: anxiety and melancholy. Reflecting the uncertainty of these times.
The made-up word “Melangolla” is a metaphor for the pandemic. In any case, the piece always maintains an energetic rhythmic level of hope and joy.
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Reviews of Rumbeando en la Melangolla - Full Score
WILLIAM ORTIZ Rumbeando en la Melangolla1. Yo fui la más Callada2. Trio Concertante en 3 Realidades3. Nací4. Brisa Urbana5. Songs of Coconut6.
Tamboleo7. Rito Ceremonial of the Church of the Spanglish Nación8. Bombazo: Dancing in the Heat of Ogún9 1David Carter (cl); 1Ricardo Coelho de Souza, 7Dave Kemp (perc); 1Nelson González Bareto (db); 2Ilca Lopez (mez); 2Diana Figueroa, 4Ernesto Busigó, 9John Zeff, 9Samuele Bergamini (pn); 3German Dmitriev (vn); 3Lera Matveeva (va); 3Elisey Vasiliev (vc); 4Nicole Samara Ortiz, 8Camila Otero, 8Gabriele Timofeeva, 8Amaya Ortiz (sop); 5Katherine Herrero (fl); 6Amarilis Pagán- Vila, dir; 8Emanuel Olivieri, cond; 6Camerata Coral de Puerto Rico; 8O Camerata Filamónica CENTAUR 4071 (65:29 &)
Puerto Rico-born William Ortiz-Alvarado has been featured on Centaur once before, a disc reviewed by multiple commentators in Fanfare 23:1 (sadly, I was not one of them). Although Ortiz studied in Puerto Rico, he moved to Buffalo for further education; one of his teachers was Morton Feldman, although it would be difficult to guess that from the very attractive, well-crafted music here.
The title of the disc is Antidogma and reflects a vital part of Ortiz’ thought process. He intends to provide vocal and musical “graffiti,” in response to the elevation of actual graffiti into art by the Haitian-Puerto Rican artist Jean-Michel Basquiat (who died far too early because of a heroin addiction). Certainly, Ortiz’s Rumbeando en la Melangolla bursts with energy. Scored for clarinet double-bass and percussion, there is a feel of modern jazz here, the music as eclectic a mix as that of Puerto Rico itself. David Carter’s clarinet hops, staccato, against the delicious off-beats of Ricardo Coelho de Souza’s percussion (conga, vibraphone and cymbal). The neologism “Melangolla” of the title refers to the melting pot of influences around the geographical area of Puerto Rico. The music is sometimes hectic, but never overloaded (bassist Nelson González Bareto certainly has a lot to do, too, the double- bass part agile and exciting). The performance is a miracle of controlled vivacity.
WILLIAM ORTIZ Rumbeando en la Melangolla1. Yo fui la más Callada2. Trio Concertante en 3 Realidades3. Naci4. Brisa Urbana5. Songs of Coconut6. Tamboleo7. Rito Ceremonial of the Church of the Spanglish Naciόn8. Bombazo: Dancing in the heat of Ogún9 8Emanuel Olivieri, 6Amarilis Pagán-Vila (cond); 8Amaya Ortiz, 4Nicole Samara Ortiz, 8Camila Otero, 8Gabriela Timofeeva (sop); 2Ilca Lopez (mez); 5Katherine Herrero (fl); 1David Carter (cl); 1Ricardo Coelho de Souza, 7Dave Kemp (perc); 3German Dmitriev (vn); 3Lera Matveeva (va); 3Elisey Vasiliev (vc); 1Nelson González Barreto (db); 4Ernesto Busigό, 9Samuele Bergamini, 2Diana Figueroa, 9John Zeff (pn); 6Camerata Coral de Puerto Rico; O Camerata P CENTAUR 4071 (65:29&)
From the very first notes of the opening work on this CD entitled “Antidogma,” I was captivated by the infectious music of Puerto Rican composer William Ortiz. The spiky Latin- infused rhythms of Rumbeando en la Melangolla, a work for clarinet, percussion, and double bass, were simply irresistible. The percussion is oriented towards various drums and mallets, which serve to give the work a primitivistic flavor that evokes memories of the El Yunque National Forest on the eastern part of Puerto Rico when my wife and I visited the island for a week some years ago. Ortiz handles these instruments with consummate expertise and this thoroughly tonal work is highly original.
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Contrabass, Rumbeando en la Melangolla - Clarinet in Bb, Rumbeando en la Melangolla - Cymbal and Vibraphone/Conga