La Verbena De La Paloma. Ya Ests Frente A La Casa - Music

La Verbena De La Paloma. Ya Ests Frente A La Casa by Tomas Breton

Tomas Breton

Artist Biography For Tomas Breton

Tomás Bretón December 29 1850 – December 2 1923 Was A Spanish Musician And Composer. He Gained Renown As A Result Of The Success Of His Zarzuela La Verbena De La Paloma Although Other Were Well-Received Works Included His Operas Los Amantes De Teruel Based On The Eponymous Legend And La Dolores. After His Death His Extensive Output Was A Generally Forgotten. His Career Spanned The Majority Of The Musical Areas Of The Period Of The Restoration 1875-1923 Conservatorium Director Reputed Orchestral Conductor Composer Of Óperas Zarzuelas Symphonic And Chamber Music. His Aimed To Create A Spanish Ópera Which Would Form A Basis For A National Music. He Not Only Expressed These Ideas In His Many Writings But Composed A Series Of Works Throughout Practically His Whole Career Which Reflectec Them From Guzmán El Bueno 1876 To Tabaré 1913 . His Series Of Nine Óperas Two Of Them In Only One Act Are An Ambitious Body Of Work For Spanish Composers Of His Time. After A Long Polemic Which Delayed Its Première Los Amantes De Teruel 1889 Amounted To Its Definitive Consolidation And Was Followed By Proposals Along Very Different Lines Such As The Wagnerian In Garín 1892 For The Barcelona Liceo And The Veristic In La Dolores 1894 For The Madrilenian Teatro De La Zarzuela. His Last Works Despite Being Tied To A Strong Nineteenth-Century Tradition Contain Undeniable Interest Such As Raquel 1900 Based On The Famous Romantic Drama Farinelli 1902 Composed For The Failed Teatro Lírico Project Tabaré 1913 Set In America And Don Gil De Las Calzas Verdes 1914 Based On A Comedy By Tirso De Molina. At The Same Time He Approached The Art Zarzuela With Unequal Success. His Output While Less Than That Of His Contemporaries Chapí Giménez And Fernández Caballero Is Of Great Quality Given The Variety Of Genres Which He Tackled. He Made Several Attempts At Composing In The Zarzuela Grande Genre Both In A More Traditional Line Than Previous Generations In Works Such El Campanero De Begoña 1878 And Los Amores De Un Príncipe 1881 And At The End Of The Century In The Circo De Parish With El Clavel Rojo 1899 And Covadonga 1901 Where He Adopted More Modern Procedures Within The Limitations Of The Genre. His Greatest Fame Came From The Género Chico Especially La Verbena De La Paloma 1894 One Of The Most Famous Zarzuelas Of The Spanish Repertoire Although He Later Composed Many Others Which Were Not As Successful. On The Other Hand He Wrote Symphonic Music With A Singular Insistence At A Time In Which In Spain Orchestral Ensembles Barely Existed. He Composed And Conducted Numerous Works For The Sociedad De Conciertos Of Which He Was Chief Conductor From 1885 To 1890. A Result Of This Were His Three Symphonies 1872 1883 1905 Revealing A Strong Assimilation Of Beethoven's Compositional Techniques. His Most Successful Works Were Those With A Spanish Character Albeit In An Alhambristic Vein –such As En La Alhambra 1887 – Or A More Danceable One As In Escenas Andaluzas 1894 . During His Last Years He Composes Various Symphonic Poems With A Clear Nostalgic Character Such As Los Galeotes 1905 Based On The Famous Quixote Episode And Salamanca 1916 On Popular Themes From His Native Region. In The Chamber-Music Genre He Has Left Us Various Works Including Three Quartets One Of Which Is Published As Well As A Trio And Quintet Composed From Markedly Classical Standpoints Influenced By The French World Of Saint-Saëns. His Wide Musical Knowledge Led Him To Tackle Many Other Fields Such As Song Including A Song-Cycle Based On Bécquer's Rhymes 1886 Which Was Followed By Las Golondrinas And The Oratorio El Apocalipsis 1882 Composed In Rome As One Of The Works Written Under The Academy Scholarship Requirements. The Prolific Composer For The Guitar Francisco Tárrega Dedicated One Of His Greatest Masterpieces "Capricho Árabe" To D. Tomás Bretón.