Dear Friend: Thank you for your affectionate letter last October 26. Courage, and continue working to the same end as you are now. Those of as who have the vocation for teaching are aware that the road is hard, and rock one. Works like yours do much good and are necessary.
Signed: A. Blanquer Master Composer.
I have know JESUS SANZ ARRIBAS for many years.
During my recent travels to Tenerife to conduct its Symphony Orchestra I had the opportunity to know in detail the Anatical Musical Schemes of SANZ ARRIBAS. To me they seemed simply magnificent, not only for the enthusiast who wants to deepen the knowledge of Classical Music, but also for students and professionals who want to have a working tool.
This is why I recommend it´s dissemination.
From 1981 to 1990 he was general music director of the Deutsche Oper Berlin and from 1984 to 1988 he was music director of the Orquesta Nacional de España. From 1986 to 2000 he served as principal conductor of the Cincinnati Symphony Orchestra, and from 1990 to 2000 he was principal conductor of the Orchestre de Chambre de Lausanne. Since 2003 he has been music director of the Teatro Real in Madrid.
I am very pleased to indicate that the work on Musical Analysis carried out by Jesus Sanz Arribas is extraordinarily useful for any lover of music who want to extend their knowledge base for to understand better field, because it is a rigorous and responsible work.
Also we should not discard it’s utility in the professional field, because it is a rigorous and responsible work..
In 1966, after the founding of the RTVE Symphony Orchestra in Madrid, Ros-Marbá won a conducting competition and was named the Principal Conductor of this orchestra. In 1967, he became Principal Conductor of the Orquestra Ciutat de Barcelona, until 1978, and again from 1981 to 1986. In 1978 he was named Music Director of the Spanish National Orchestra. From 1979-1986, he led the Netherlands Chamber Orchestra as Principal Conductor.
Through the www.audimus.org web page, I have had the opportunity to become acquainted with the “Esquemas Musicales Analíticos” by Professor Jesús Sanz Arribas. I consider it a useful and interesting vehicle for the training of music students, as well as a practical supplement for the amateur as well as the profesional.
1. The structural synthesis of each piece (whether Sonata, Lied, Scherzo, etc.), as they are graphically represented in their primary and secondary sections.
3. The definition of the musical contents, in musical terms (themes, counter subjects, bridges, transitions, connections, etc.).
4. The aural synchronization, which permits the repetition of any passage with the utmost precision, and the comparison with similar passages in different sections of the work (in the Exposition and Recapitulation, etc.).
5. The broad symphonic repertoire of the great classical masters – Haydn, Mozart, Beethoven – the knowledge of which is fundamental in the development of any serious musician in all specialties.
I congratulate Professor Jesús Sanz Arribas for his important contribution of a pedagogically practical way to become familiar with the structural content of the great symphonic repertoire of the classical period, which is, no doubt, a positive contribution for thorough musical education.
Chicago College of Performing Arts. Adjunct Associate Professor of Music, Columbia University Teachers College. Artistic Director, International Piano Festivals.
Chicago College of Performing Arts.
Adjunct Associate Professor of Music, Columbia University Teachers College.
Artistic Director, International Piano Festivals.