Several decades ago she won a popular composition prize for her song “José Jacinto,” composed in 1974. That is why her way of composing is neither too associated to the fact of building, but rather to the ritual that conjures all the fears: “A song was always, from now on, the best thing I could invent to get over the late afternoons and nights of fear of the unknown.” It was more a question of vibrations than of memories and lessons. The first physical contact with them, when I was a little girl and couldn’t even reach the balcony’s iron rail even though I lifted my arms as high as possible, was not by ear but rather that I felt a stab in the middle of my chest that was moving to the left. His music remained going round in my head when I hadn’t even become aware of the power of memory. She offers us an insight into her relationship with the art of sound when she explains how during her childhood when she listened to songs interpreted by Pedro Vargas: If it comes to it, it would be necessary to speak of alchemy: of the lively vigil marked by the half-light of the filin of the song that is not satisfied with a run-of-the-mill lyrics and requires the truth of the usual verse, the one that never stops being current of all those components, and also from the lessons she got from Leopoldina Núñez, from Vicente González Rubiera, from Harold Gramatges, flourished such a personal way of creating that t cannot be labelled it is not purely bolero, or filin, or protest song, or the new song movement, it is…Marta Valdés, with her unrepeatable experience of life and music, if you’ll excuse the repetition. The critics say that something called the “new song”, that something so difficult to define like the things that are essential in the world, begins with her and with Teresita Fernández. Mart Valdés is 80 years old and I am reviewing her career, I am revisiting her songs before writing these lines. What at that time was forbidden for me was to know that that was simply the experience of the poem. Without knowing it, I sensed something more behind that song, perhaps a great deal of anguish, perhaps an entire drama. Not being old enough for that, I suspected that that line of “that I already love you” was a desperate confession that because of the inevitable law of gravity would be followed by a rejection of the invisible interlocutor. Actualmente vive y trabaja en Cracovia.I remember that the end especially moved me, because the singer did a small pause before singing the final verse, which came out like a sob. En 1998, Kremer regresó a Polonia de forma permanente. Ella solo pudo regresar a Polonia después de dieciséis años cuando el comunismo cayó en 1991. En 1985 Kremer se naturalizó como ciudadana estadounidense. Después de un año de vivir en Greenwich Village y exhibir en la ciudad, Kremer se mudó a West Virginia, donde pintó de manera prolífica y disfrutó de la belleza de la naturaleza, la simple amabilidad de los demás y la inspiración infinita de la maternidad. El 2 de diciembre de 1975, Kremer llegó a la ciudad de Nueva York por invitación de la Fundación Kosciuszko, un centro estadounidense para la cultura polaca. En 1975, Kremer había recibido numerosos premios en toda Polonia había sido incluida en once colecciones permanentes y había participado en más de 70 exposiciones en Polonia, Alemania, Austria, Noruega, Francia, Brasil, Argentina, Suiza, Bélgica, Inglaterra, Finlandia, Italia, Venezuela, Cuba, Turquía, Irán y Australia. Poco después, estos grabados fueron incluidos en la publicación alemana Kafka in der Kunst (Kafka in Art) de Wolfgang Rothe. Las primeras obras de Kremer que se adjudicaron fueron ilustraciones de varios de los cuentos de Franz Kafka. La prestigiosa Albertina en Viena, Austria, que "aloja una de las colecciones de arte gráfico más grandes y preciosas del mundo", adquirió uno de sus gráficos en su primer año fuera de la Academia. Cuando Kremer se graduó de la Academia de Bellas Artes en 1966, su trabajo de postgrado fue rápidamente reconocido y aclamado como uno de los mejores trabajos artísticos producidos en Polonia en ese momento.
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