Armando Rodríguez Ruidíaz
Armando Rodríguez Ruidíaz | |
|---|---|
 | |
| Background information | |
| Born | July 23, 1951 |
| Origin | Havana, Cuba |
| Occupation(s) | Composer, instrumentalist, professor |
| Instruments | Guitar, bagpipe |
| Labels | EGREM, C. Alan Publications |
| Website | armandorodriguez |
Armando Rodríguez Ruidíaz (born y 1951) is a Cuban composer, guitarist, professor and bagpiper.
Career[edit]
Early life and studies[edit]
Armando Rodríguez Ruidíaz was born in Havana, Cuba, in 1951. He studied musical composition with José Ardévol and Roberto Valera at the National School of Arts and the Instituto Superior de Arte in Havana.[1]
He also studied classical guitar with renowned professors Marta Cuervo and Isaac Nicola at the National School of Arts.[2] Most recently, Rodríguez has studied the Galician bagpipe.[1][3]
As a professor[edit]
After graduating in 1972, Rodríguez served as professor of guitar at the Esteban Salas Conservatory in Santiago de Cuba. In 1975 he was designated as professor of guitar and music theory at the National School of Arts, in Havana, where he served until 1980.[2]
As a composer[edit]
The music of Rodríguez was performed in his native Cuba by numerous performers and ensembles that included the National Symphony Orchestra of Cuba and the Cuban National Ballet.[2]
In 1985, Rodríguez established his residence in the US and since then his compositions have been performed by renowned individual artists and ensembles of critical acclaim such as the Philadelphia-based Relâche Ensemble,[4] saxophonist Miguel Villafruela,[5] double bassist Luis Gómez-Imbert, pianists Roberto Urbay, Max Lifchitz and Beatriz Balzi, as well as guitarists Flores Chaviano and Carlos Molina, in events as the Bang on a Can Festival in New York City, Las Primeras Jornadas de Música Contemporánea de Sevilla, Spain, the São Paulo Biennial in Brasil, the Latinamerican and Caribbean Music Forums and the Subtropics Festival in Miami, Florida.[2]
He has collaborated with visual artist Kate Rawlinson and with composer Gustavo Matamoros, with whom he co-founded the PUNTO Experimental Music Ensemble.[6][7][8][9]
His work has been published by EGREM (Havana, Cuba) and C. Alan Publications (NC, USA); it has also been broadcast in the US, Canada, Europe and Latin America.[2]
As a bagpiper[edit]
Armando Rodríguez has conducted extensive research on the Galician and Asturian music and their points of contact with Cuban music. The results of those researches have been published in articles such as: “Presencia de la Gaita en Cuba.”[10] Rodríguez has also studied the history and technique of the bagpipes.
As a bagpipes specialist, he was invited to give a lecture on the history of this ancient instrument at the University of Miami in 2006.[11]
As an academic researcher[edit]
During the last twenty years, Rodríguez has devoted much time and effort to inquire about the Cuban music history and other academic topics of interest. He has written and published numerous essays about those investigations.[12]
Awards[edit]
Rodríguez received a National Union of Writers and Artists of Cuba (UNEAC) Music Composition Award in 1978. He also received an Individual Artist Fellowship Award from the State of Florida in 1991.[2]
Selected works[edit]
Rodriguez's works include:
- Sonatina – Piano - 1972[13]
- Music for young guitarists (Música para jóvenes guitarristas) – Collection of didactical pieces for guitar – 1973[14]
- 'Intentos I and II – Guitar – 1974[14]
- Variations on a theme by Leo Brouwer (Variaciones sobre un tema de Leo Brouwer) – Piano – 1975[14]
- Proyecto V – Piano with two performers - 1976[15]
- Esquisse (Boceto) – Alto saxophone and Piano – 1977[16]
- Two Poems (Dos Poemas) – Voice and Piano - 1977[17]
- Prelude and Fugue – Vibraphone - 1977[18]
- Timbre-Space-Time (Timbre-Espacio-Tiempo) – Vibraphone - 1977[18]
- Ciclos – Violin and Orchestra - 1977[19]
- On a Theme by Víctor Jara (Sobre un tema de Víctor Jara) – Guitar - 1978[20]
- Interaction (Interacción)– Percussion - 1978[21]
- Expressions (Expresiones)– Alto saxophone solo - 1979[16]
- In Memoriam Chales E. Ives – Piano - 1979[22]
- Logos – Guitar - 1984[23]
- Linear – Open Instrumentation – 1990[24]
- Triangular – Open Instrumentation – 1990[25]
- Occupied Space – Guitar and Tape – 1990[25]
- Overlapping Textures – Guitar ensemble - 1990[26]
- Terra Incognita – Installation project in collaboration with artist Kate Rawlinson – Opus Art Studios – 1990[27]
- Mobile Textures – Guitar - 1991[28]
- The Hexagonal Galleries – For three performers and electroacoustics - 1992
- A Quiet World – Voice and Tape – 1992[29]
- From Darkness to Light – Double bass and Tape – 1992[29]
- A storm was coming over the quiet pond – Piano and Tape - 1995[30]
- José Martí in the Qarries of San Lázaro – Piano and Voice - 1995[31]
- Threshold – Choir - 1997[32]
- The long road to Santiago (El Largo Camino a Santiago) – Galician bagpipe and Tape - 1998[33]
- Intersections (Intersecciones)– Electroacoustic Media - 2004[34]
- Morphing Textures (Texturas metamórficas) - Electroacoustic Media - 2004[35]
- Radiance – Tape and Video – 2004[29]
See also[edit]
References[edit]
- ↑ 1.0 1.1 "Connor, Olga. Un gaitero por amor". Cubanossinfronteras. Blogspot. Retrieved June 28, 2012.
- ↑ 2.0 2.1 2.2 2.3 2.4 2.5 "Composer profile". C. Alan Publications. Archived from the original on March 24, 2012. Retrieved June 28, 2012. Unknown parameter
|url-status=ignored (help) - ↑ "Triff, Alfredo. Miami, another dimension". Miami New Times. Retrieved July 21, 2012.
- ↑ "Bang on a Can Marathon. La Mama 1991". bangonacan.org. Retrieved July 21, 2012.
- ↑ "Obras Dedicadas al Saxofonista Miguel Villafruela". www.villafruela.scd.cl. Retrieved June 28, 2012.
- ↑ "Art show revels in sight sounds". Sun Sentinel. Retrieved June 28, 2012.
- ↑ "Avant Garde sights and sounds at Sub-Tropics Music Festival". Sun Sentinel. Retrieved June 28, 2012.
- ↑ "Getting A New Look Subtropics Music Festival Brings Unique Material To The Area". Sun Sentinel. Retrieved June 28, 2012.
- ↑ "PUNTO: The Hexagonal Galleries". Subtropics.org. Archived from the original on May 30, 2013. Retrieved June 28, 2012. Unknown parameter
|url-status=ignored (help) - ↑ Herencia cultural cubana, Revista Herencia, Miami, Florida, Volumen 14, No. 1, 2008.
- ↑ http://www6.miami.edu/iccas/Items/AnnualReport05-06.pdf.. University of Miami, Institute for Cuban and Cuban-american studies, Annual Report 2005-2006.Lectures/Panel discussions.
- ↑ https://independent.academia.edu/ArmandoRodriguez2 Retrieved 22 November 2020
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 6". academia.edu. Retrieved November 24, 2020.
- ↑ 14.0 14.1 14.2 Empresa de Grabaciones y Ediciones Musicales (EGREM). La Habana, Cuba.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 12". academia.edu. Retrieved November 24, 2020.
- ↑ 16.0 16.1 "Catalogo de obras para saxofon de compositores de Cuba". Saxofon latinoamericano. El saxofon en America Latina. Archived from the original on June 10, 2015. Retrieved July 21, 2012. Unknown parameter
|url-status=ignored (help) - ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 23". academia.edu. Retrieved November 24, 2020.
- ↑ 18.0 18.1 http://www.c-alanpublications.com/Merchant2/merchant.mvc Archived 2012-07-12 at the Wayback Machine? C. Alan Publications Catalog.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 39". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 28". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 31". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 46". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 47". academia.edu. Retrieved November 24, 2020.
- ↑ "Bang on a Can Marathon. La Mama 1991". Bang on a Can festival. Retrieved July 21, 2012.
- ↑ 25.0 25.1 "PUNTO: Experimental Music". Subtropics.org. Retrieved July 21, 2012.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 82". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 57". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 79". academia.edu. Retrieved November 24, 2020.
- ↑ 29.0 29.1 29.2 "Occupied spaces. The music of Armando Rodríguez". Subtropics.org. Retrieved July 21, 2012.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 100". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 102". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 107". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 123". academia.edu. Retrieved November 24, 2020.
- ↑ "Rodríguez Ruidíaz, Armando:The Forgotten Concerts, p. 114". academia.edu. Retrieved November 24, 2020.
- ↑ "Armando Rodríguez Ruidíaz — Morphing Textures". SFCA – Listening Gallery. Subtropics.org. Retrieved July 21, 2012.[permanent dead link]
- Attribution
- This article is based on the translation of the corresponding article of the Spanish Wikipedia. A list of contributors can be found there at the History section.
External links[edit]
- Armando Rodríguez Ruidíaz's channel on YouTube
- Dal Farra, Ricardo; Electroacoustic and computer music in Latinamerica
- Catálogo de obras para saxofón de compositores de Cuba; Cuba, Retrieved 28 June 2012.
- SFCA – Listening Gallery. Radiance 2. [1]
- academia.edu: Armando Rodriguez Ruidiaz: [2]
- Interview by Alfredo Tripp: [3]
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