Django a l'Havana
In this quartet, Pere Soto has let his imagination soar in creating an entertaining imaginary story about a hypothetical trip by Django to Havana. With the combination of the Cuban sound and the manouche fanfare, he has managed to merge the two essences and aesthetics in a highly original piece, offering a real challenge to an ambitious quartet.
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DE758
In this quartet, Pere Soto has let his imagination soar in creating an entertaining imaginary story about a hypothetical trip by Django to Havana. With the combination of the Cuban sound and the manouche fanfare, he has managed to merge the two essences and aesthetics in a highly original piece, offering a real challenge to an ambitious quartet.
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Period | 20th c. |
Instruments | 2vl.vla.vc. |
Pages | 106 |
Time | 22 min. |
Contents | score + parts |
ISMN | 979-0-3502-0947-5 |
Price of print edition | 31,20 € |
Edition | Digital |
Django Reinhardt, Jean Baptiste Reinhardt (1910-1953), is credited as being the founder of a type of jazz known as gypsy jazz in English although the term actually originated from a French expression, manouche jazz, and blends the European jazz of that time with music with gypsy roots.
Pere Soto, apart from being a composer, is also well known as a jazz musician specializing in the gypsy style, and has a profound knowledge of and admiration for the musical language of Django Reinhardt. After hearing the piece, his friend Ernesto Briceño, a Venezuelan violinist living in Barcelona, came up with the idea of naming it after the great musician.