9/23/2026
September 23, 2026
20:57 3:00 Station ID, Promos, PSAs
21:00 1:00 <Theme music>
[Buenas noches. Desde los estudios de KBBF, la primera estación comunitaria bilingüe en los Estados Unidos, soy su presentador, Alan Bloom, y les doy la bienvenida a esta edición de “Tonos Clásicos,” su programa de música clásica con “una conexión Latina.” Cada semana a esta hora exploramos la cultura musical de España y Latinoamérica.]
[Good evening. from the studios of KBBF, the first bilingual community radio station in the United States, this is your host, Alan Bloom, welcoming you to this edition of “Classical Tones,” your program of classical music “with a Latin connection.” Every week at this time we explore the musical culture of Spain and Latin America.]
=======================================================================
Pablo Sanguinetti es un pianista, compositor y arreglista argentino contemporáneo que crea música para piano íntima y contemplativa, situada en la confluencia del jazz, la música clásica contemporánea, el minimalismo, la improvisación sutil, y el silencio. En sus propias palabras, “Esta pieza está inspirada en la Virgen de Luján, patrona de Argentina. Busca capturar la quietud y el recogimiento de un momento de oración, con un lenguaje armónico minimalista y una línea melódica que evoca la tradición del piano argentino.” El pianista es el propio compositor.
Pablo Sanguinetti is a contemporary Argentinian pianist, composer and arranger who creates intimate and contemplative piano music at the intersection of jazz, contemporary classical music, minimalism, subtle improvisation, and silence. In his own words, “This piece is inspired by the Virgin of Luján, the patron saint of Argentina. It seeks to capture the stillness and inward focus of a moment of prayer, using a minimalist harmonic language and a melodic line that evokes the Argentine piano tradition.” The pianist is the composer himself.
21:02 3:58 Pablo Sanguinetti (1971-) La Virgen de Luján
Pablo Sanguinetti, piano
La Virgen de Luján de Pablo Sanguinetti fue interpretada por el propio compositor.
La Virgen de Luján by Pablo Sanguinetti was performed by the composer himself.
=====================================================================
Recientemente tuve el placer de realizar una entrevista en profundidad con el maestro Sanguinetti y me complace presentarla aquí.
I recently had the pleasure of doing an in-depth interview with Maestro Sanguinetti and am pleased to present it here. The interview is in Spanish; I’ll present a synopsis in English afterwards.
21:07 14:00 Interview with Pablo Sanguinetti in Spanish
A continuación se presenta una sinopsis de la entrevista en inglés.
Here’s a synopsis of the interview in English.
We began the interview discussing his compositional style. It can be called “postmodern” but includes elements of contemporary classical, minimalism, tango, jazz, electronica, etc. He feels the essence of postmodernism is to create music in your own voice. His work “La Virgen de Luján” is meant to be something very human. It is based on his experience with his grandfather at the church in Luján with influences from classical, minimalism, and the music of Arvo Pärt.
The Estonian composer Arvo Pärt is a big influence on his music for his use of silence, spirituality and simplicity.
Astor Piazzolla, the father of the Nuevo Tango in Argentina, was another major influence. He has made arrangements of themes of Piazzolla and performs and arranges music for a tango trio. He likes to use tango as a basis for improvisation. I asked if it is common to improvise with tango as they do in jazz. He replied that, yes, there is improvisation but it is different than jazz.
Improvisation is a big part of his music. He enjoys composing in real time in front of an audience. I asked if he has heard of Gabriela Montero, the Venezuelan pianist who is famous for her improvisations. You can hear her doing it live in concert on Youtube. Sr. Sanguinetti had the opportunity to share the stage with Richard Grayson, who was famous for doing concerts of piano improvisation.
We had an interesting discussion of the use of AI, artifiicial intelligence, in music composition. He thinks that AI can be an interesting tool — he is very interested in technology. AI offers fascinating possibilities for experimentation, but for Sanguinetti the human experience remains essential to artistic creation.
I asked what is the best method to download examples of his music. He suggested that the best place is Band Camp because they support independent musicians such as himself. They have a more direct and friendly connection to the musicians than other music distribution services like Spotify. We agreed that things are difficult for independent musicians. It was even worse in the old days when music stores only carried CDs of the most popular musicians. At least now, the internet has democratized distribution somewhat. It is much quicker and easier to promulgate your music.
Para la siguiente obra del programa, tenemos una pieza de Ruperto Chapí. Fue un destacado compositor de zarzuela. Un buen ejemplo es su “El rey que rabió”. Escucharemos el “Coro de Doctores” de esta obra, interpretado por la orquesta y el coro de la Comunidad de Madrid, dirigidos por Miguel Roa.
For the next work on the program we have a piece by Ruperto Chapí. He was a leading composer of the zarzuela. A good example is his “El rey que rabió” (The King Who Raged). We’ll hear the “Doctors’ Chorus” from it performed by the Comunidad de Madrid Orchestra & Chorus, directed by Miguel Roa.
21:24 3:05 Ruperto Chapí (1851-1909) El rey que rabió – Coro de doctores
Comunidad de Madrid Orchestra & Chorus, Miguel Roa
Está escuchando Tonos Clásicos, el programa de la música clásica “con una conexión latina” desde los estudios de KBBF en Santa Rosa, California. Acabamos de escuchar el Coro de Doctores de la zarzuela “El Rey que Rabió” de Ruperto Chapí interpretado por la orquesta y el coro de la Comunidad de Madrid bajo la batuta de Miguel Roa.
You are listening to Classical Tones, the program of classical music “with a Latin connection” from the studios of KBBF in Santa Rosa, California. We just heard the Doctors’ Chorus from the zarzuela “The King Who Raged” by Ruperto Chapí performed by the Comunidad de Madrid Orchestra & Chorus under the baton of Miguel Roa.
=======================================================================
Tomás Luis de Victoria fue el compositor español más famoso del siglo 16, durante el periodo de la Contrarreforma. Fue uno de los compositores más destacados de la música sagrada en Europa en aquel entonces. Tenemos aquí un ejemplo llamado “Ave maris stella”. Escucharemos una interpretación de Magdala, el coro de la Universidad de Oxford.
Tomás Luis de Victoria was the most famous composer in 16th-century Spain, during the period of the Counter-Reformation. He was one of the best-regarded composers of sacred music in Europe at that time. Here’s an example called “Ave maris stella”. We’ll hear a performance by Magdala, the choir of Oxford University
Ahora, nos adelantaremos unos 5 siglos. Es una pieza de la compositora mexicana Gabriela Ortiz llamada “Aroma foliado” que fue encargada en 2006 para el Cuarteto Latinoamericano. Ella escribe, “Enfrentarme a escribir una obra para celebrar el 250 aniversario de Mozart implicó tomar varias decisiones, una de ellas fue, por ejemplo, incorporar o no fragmentos de alguna obra de Mozart. Para mi, era importante reflexionar sobre los puntos de encuentro entre su música y la mía. Lo más importante, no es la fuente musical en si, sino la manera en que ésta se incorpora, se desarrolla y adquiere nuevos significados y valores estéticos.” Escucharemos a Lorenz Gamma y Shalini Vijayan en los violines, Jan Karlin en la viola, y Peter Jacobson en el chelo.
Now let’s move forward about 5 centuries. It’s a composition by the Mexican composer Gabriela Ortiz called “Aroma foliado” (Numbered Aroma) that was commissioned in 2006 for the Cuarteto Latinoamericano. She writes, “Undertaking the writing of a piece to celebrate Mozart’s 250th birthday called for some decisions to be made, one of them whether to incorporate fragments of the Mozart pieces. But what was important was to have thoughts about the intersection of the points of his music with mine. The main aspect is not the musical origin in itself, but how the new composition incorporates, develops and acquires new meanings and aesthetic values.” We’ll hear Lorenz Gamma and Shalini Vijayan on the violins, Jan Karlin on viola, and Peter Jacobson playing the cello.
21:37 14:23 Gabriela Ortiz (1964-) Aroma Foliado (2006)
Lorenz Gamma & Shalini Vijayan, violins
Jan Karlin, viola
Peter Jacobson, cello
Acabamos de escuchar “Aroma Foliado” de Gabriela Ortiz interpretada por Lorenz Gamma y Shalini Vijayan en los violines, Jan Karlin en la viola, y Peter Jacobson en el chelo.
We just heard “Aroma Foliado” by Gabriela Ortiz performed by Lorenz Gamma and Shalini Vijayan on the violins, Jan Karlin on viola, and Peter Jacobson on cello.
===========================================================================
La cancion, “El noi de la mare” (El hijo de la madre) es una canción de Navidad catalana tradicional que Andrés Segovia hizo famosa gracias a una transcripción para guitarra de Miguel Llobet. Tenemos aquí una interpretación de Narciso Yepes.
The song, “El noi de la mare” (The Child of the Mother) is a traditional Catalan Christmas song that was made famous by Andrés Segovia in a guitar transcription by Miguel Llobet. Here’s a performance by Narciso Yepes.
21:52 2:59 Miguel Llobet (1878-1938) El noi de la mare
Narciso Yepes, guitar
Acabamos de escuchar una canción navideña de Cataluña llamada “El noi de la mare” de Miguel Llobet interpretada por Narciso Yepes en la guitarra.
We just heard a Christmas song from Catalonia called “El noi se la mare” by Miguel Llobet performed by Narciso Yepes on the guitar.
=======================================================================
21:55 <Theme music>
[Está escuchando Tonos Clásicos, su programa de la música clásica “con una conexión latina”. Regresaremos con la segunda hora de esta hermosa música en un par de minutos.]
[You’re listening to Classical Tones, your program of classical music “with a Latin connection”. We’ll return with the second hour of this beautiful music in a couple of minutes.]
=============================== HOUR 2 =================================
[Me alegro de que haya vuelto a nuestro programa “Tonos Clásicos” desde los estudios de KBBF en Santa Rosa California. Toda la música tiene alguna conexión con España o Latinoamérica.]
[Welcome back to “Classical Tones” from the Studios of KBBF in Santa Rosa California. All the music has some connection to Spain or Latin America.]
=======================================================================
La obra que sigue, titulada “Salón Buenos Aires”, existe tanto en versión para sexteto como en la versión para orquesta de cámara que vamos a escuchar a continuación. La música consta de tres movimientos, cada uno inspirado en una danza popular sudamericana: una samba brasileña, un tango argentino y una milonga uruguaya. El compositor uruguayo Miguel del Águila señala que “la música transmite el ambiente general de aquel periodo de gran prosperidad y optimismo que precedió al colapso social de la década de 1970, provocado por regímenes militaristas”. Escucharemos una interpretación de la Sinfónica de Augusta bajo la dirección de Dirk Meyer.
The following work, called “Salón Buenos Aires”, exists both as a sextet and the version we are about to hear, for chamber orchestra. The music is cast in three movements, each modelled after a popular South American dance: a Brazilian samba, an Argentinian tango, and a Uruguayan milonga. The Uruguayan composer, Miguel del Águila, writes that “the music conveys the general mood of this period of great prosperity and optimism that preceeded the social collapse of the 1970s in the hands of militaristic regimes.” We’ll hear a performance by the Augusta Symphony under the direction of Dirk Meyer.
22:02 19:46 Miguel del Águila (1957-) Salón Buenos Aires, Op 102
Augusta Symphony, Dirk Meyer
Esa fue una obra llamada “Salón Buenos Aires” de Miguel del Águila interpretada por la Sinfónica de Augusta dirigida por Dirk Meyer.
That was a work called “Salón Buenos Aires” by Miguel del Águila performed by the Augusta Symphony conducted by Dirk Meyer.
======================================================================
Ahora escucharemos una obra escrita originalmente para orquesta y transcrita para piano. El compositor francés Maurice Ravel concibió la idea de “La Valse” por primera vez en 1906. Pretendía ser un homenaje al vals y también al “Rey del Vals” Johan Strauss hijo. Modificó la partitura exhaustivamente después de regresar de su servicio como conductor de camiones durante la primera guerra mundial. Es difícil no creer que la conclusión, tan salvaje y caótica debe ser una reacción contra los horrores que Ravel experimentó directamente en la guerra. Escucharemos su transcripción para dos pianos interpretada por la argentina Martha Argerich y el brasileño Nelson Freire.
We’ll now hear a work originally written for orchestra and transcribed for piano. The French composer Maurice Ravel first conceived of the idea of “La Valse” as early as 1906. It was intended as a tribute to the waltz form and to the “Waltz King” Johann Strauss II. He extensively revised the score after returning from his service as a truck driver in World War I. It is hard not to feel that the wild chaotic ending must have been a reaction to the horrors that Ravel experienced first-hand in the war. We’ll hear his transcription for two pianos performed by the Argentinian Martha Argerich and the Brazilian Nelson Freire.
22:23 11:08 Maurice Ravel (1875-1937) La Valse
Martha Argerich, Nelson Freire, pianos
“La Valse” de Maurice Ravel fue interpretada por Martha Argerich y Nelson Freire en los dos pianos. Y la escuchamos aquí en Tonos Clásicos, el programa de música clásica “con una conexión latina” desde los estudios de KBBF en Santa Rosa, California.
“La Valse” by Maurice Ravel was performed by Martha Argerich and Nelson Freire on two pianos. And we heard it here on Classical Tones, the program of classical music “with a Latin connection” from the studios of KBBF in Santa Rosa, California.
=======================================================================
El compositor italiano Ottorino Respighi viajó a Brasil en el verano del año 1927. Cuando regresó prometió componer una “Suite brasileña” para la Orquesta Sinfónica de Rio de Janeiro. El resultado fue la obra “Impresiones Brasileñas”. Fue dirigida por Respighi en junio de 1928 en Rio. Las secciones exteriores, llamadas “Noche tropical” y “Canción y baile” presentan sus respetos a las melodías y ritmos de danza que encontró en Rio. La inquietante sección en el medio, llamada “Butantan” tiene el nombre del instituto de víboras en las afueras de Sao Paulo, donde se crían miles de serpientes venenosas para la producción de suero. Escucharemos a la Orquesta Sinfónica de Dallas, dirigida por Eduardo Mata.
The Italian composer Ottorino Respighi traveled to Brazil in the summer of 1927. Upon his return, he promised to compose a “Suite brasiliana” for performance by the Rio Philharmonic. The resulting work, “Brazilian Impressions” was conducted by Respighi in June 1928 in Rio de Janeiro. The outer sections, called “Tropical Night” and “Song and Dance” pay their respects to the melodies and dance rhythms he found in Rio. The unsettling middle section, called “Butantan” is named for the reptile institute outside Sao Paulo, where thousands of poisonous snakes are raised for serum production. We’ll hear the Dallas Symphony Orchestra conducted by Eduardo Mata
22:37 19:23 Ottorino Respighi (1879-1936) Brazilian impressiones (1928)
Dallas Symphony Orchestra, Eduardo Mata
Acabamos de escuchar “Impresiones Brasileñas” de Ottorino Respighi interpretadas por la Orquesta Sinfónica de Dallas, bajo la batuta de Eduardo Mata
We just heard “Brazilian Impressions” by Ottorino Respighi performed by the Dallas Symphony Orchestra under the baton of Eduardo Mata.
=======================================================================
22:56 <Theme music>
[Quisiera darles las gracias por sintonizar con “Tonos Clásicos”, el programa de música clásica desde los estudios de KBBF. Nos reunimos cada semana con dos horas de la mejor música y músicos de España y Latino América. Soy su presentador Alan Bloom, y espero estar con ustedes otra vez la próxima semana.]
[I want to thank you for tuning in to “Classical Tones”, the classical music show from the studios of KBBF. We’re here every week with two hours of the best music and musicians from Spain and Latin America. This is your host Alan Bloom, hoping to be with you again next week.]
22:58 2:00 <Station ID, Promos, PSAs>