7 paintings + 7 stories = 7 world premieres” was a community engagement project between MISO and the children of the Boys and Girls Clubs of Miami Dade County. Over eight visits with MISO musicians, the children enjoyed live performances, painted watercolors, and combined their artwork to create stories. Video by Fernando Duprat displayed the watercolors and the children’s charming narration of their stories.
Inspired by the children’s’ work, three of MISO’s six composers-in-residence – Sam Hyken, Orlando Garcia, and Tulio Cremisini – contributed six miniatures, with MISO music director Eduardo Marturet providing the seventh.
Most tried to illustrate the stories, including Hyken channeling John Williams for The Adventures of Indiana Penguin, and Marturet quoting Offenbach’s Can-Can to suggest a grand party in Wizard Turtle. Less programmatic and more enchanting was Orlando Garcia’s The Boy and the Magical Flower with delicately shifting, swelling colors complementing swirls in the projected watercolors. More here
Havana-born Orlando Jacinto García turns 60 this year, and this characteristically courageous issue from Toccata Classics allows us the opportunity to assess what the composer himself describes in the booklet as ‘three of my more important orchestral works’. García moved to the United States as a boy, studying initially with Dennis Kam at the University of Miami before becoming a private student of Morton Feldman. More here
Orlando Jacinto García was born in Havana in 1954, moving to America in 1961 where he studied with Dennis Kam, twelve years García’s senior. He was also to prove to be one of Morton Feldman’s last private students. 2014 marked the year of his 60th birthday. Toccata here presents three representative orchestral works, in premiere recordings, composed between 1988 and 2011. More here
These pieces display a consistently original sonic imagination, and exemplify the composer’s intent to explore music’s capacity for existing outside time, its effect on the listener unaffected by duration or conventional progression of musical argument. To some extent this reflects his studies with Feldman, but Garcia’s music is far denser harmonically, and more emotionally intense. More here