Es difícil defenir qué fue eso, si una cagada de buitre, un pedo etílico de azufre maloliente, la Función de Los Tontos, o una camadería de individuos con algún tipo de anomalía mental que van a cachondearse de la cultura española pagados y contratados por los locos. Una lástima en lo que ha decaído la programación, basura pura.
Lo más grave es que se atienda a patrocinar (que en realidad lo pagas tú, si tú, con el dinero de tus impuestos) esa mierda por las entidades púbicas.
En definitiva, para el que haya ido, lavarse bien tres o cuatro veces con jabón y esparto, tres duchas frías, irse una temporada al Tíbet para desintoxicarse, y si regresas todavía y con eso vivo, me avisas para tomar nota.
This composition is included in the book “Piano Works”:
As ‘Atlantis’ is supposed to be the representative concept of the Atlantic sea. In classical Greek literature it was frequently used to refer to a “daughter or descendant of Atlas”. By artistically trying to conceive the birth of it, Atlantis is a whole, also as a symbol of the lost Atlantis, which the composer -due to the musical traits used- could be placing it close to Spain.
La ópera “El Disparate o la Obra de Los Locos” de Félix Máximo López (1742-1821), esta protegida por la ley de propiedad intelectual, TÍTULO VI, artículos 129 y 130 – La protección de determinadas producciones editoriales-, y varios registros aprobados en la misma PI y en el Ministerio de Cultural, siendo aún vigentes el 100% de mis derechos de autor para su explotación, quedando absolutamente prohibidas las representaciones y exhibiciones públicas, arreglos, reducciones o desmenuzamientos transgesores, que no sean las que yo realizo, Alberto Cobo – director de Superopera.com
He solicitado al ICCMU postularme al Premio Nacional de Música, por la realización del trabajo de la primera grabación de la “Integral Para Clave Y Pianoforte” de Félix Máximo López (1742-1821), que se encuentra en esta Lista en Youtube disponible para ser escuchada por el público, pues son varios CDs lo que ocuparía y además no hay de música española para teclado realmente nada apreciable de esa época.
Cuando John Collins escribe en su crítica publicada por/en el medio más mafioso español de la música online, Mundoclásico, a mi edición de Félix Máximo López, que tan fielmente recoge Google siempre colocándolo al lado de mi nombre, graciosillos que son que lo han dejado petrificado ahí durante 20 años…. que mi edición no contiene “aparato crítico” como en las modernas ediciones…
¿A qué ediciones en concreto se refiere? ¿Aparato crítico en una edición que contiene muchas obras “Primeras ediciones mundiales” de más de dos siglos de antiguedad y que están perfectamente escritas y de comprensión que no suscita ninguna duda?
Si refiere por ejemplo al aparato crítico de Leslie Howard cuando editó/descubrió el “Romancero Español” de Franz Liszt en el 2007 en el que, si acaso habla algo, no da una o más bien dice que no tiene ni idea de dónde salieron esos temas y tuve que ser yo el que lo aclarase y luego me copiaran todas las rémoras de la musicología (que hay a millones), vamos apañados.
Yo incluí un análisis musicológico, que está bastante bien realizado, por cierto, de eso no dice nada. En español e inglés.
When John Collins writes in his review published by the most mafioso Spanish medium of online music, Mundoclásico, to my edition of Félix Máximo López, which Google always collects so faithfully by placing it next to my name, funny people who have left it petrified there for 20 years… that my edition does not contain “critical apparatus” as in modern editions…
What specific editions are you referring to? Critical apparatus in an edition that contains many “First World Editions” works that are more than two centuries old and that are perfectly written and understandable beyond any doubt?
If you refer, for example, to the critical apparatus of Leslie Howard when he edited/discovered Franz Liszt’s “Romancero Español” in 2007 in which, if he says anything at all, he doesn’t give one or rather he says that he has no idea where those themes and I had to be the one to clarify it and then they copied all the hindrances of musicology (there are millions of them), we managed.
I included a musicological analysis, which is quite well done, by the way, that says nothing. In Spanish and English.
Libreto de la Ópera de Félix Máximo López (1742-1821), “El Disparate O La Obra De Los Locos”, en tres actos. Premio al mayor descubrimiento musicológico del siglo.
He añadido un vídeo más a mi anterior post en mi blog sobre las “Variaciones del Fandango Español” de Félix Máximo López (1742-1821), incluyendo la partitura de mi versión/arreglo.
I have added one more video to my previous blog post about the “Variations of the Spanish Fandango” by Félix Máximo López (1742-1821), including the score for my version / arrangement.
Eight concerts with the Australian Brandenburg Orchestra, in Sydney and Melbourne, served for the 2018 premiere of the Symphony in B flat major that Félix Máximo López (1742-1821) used as the entrance / overture to the Opera “Los Locos” (El Disparate or The Work of Los Locos).
Jenny Burnson September 21, 2018 in Live Shows, Melbourne, Reviews << My companion was most impressed with Lopez’s work, exclaiming “That’s my idea of ??lovely music!” Similar comments were expressed by those around us, while several others were busy discussing the merits of the music’s composition. All agreed the chance to hear and enjoy both old favorites and discover new historical music ensured Mediterraneo was a concert to savor.
Jenny Burns attended the opening night of Mediterraneo with Daniel Pinteño as a guest of the Australian Brandenburg Orchestra. >>
In December 2016 I sent a correspondence (corporate email) to Daniel Pinteño to request a recording budget for my operatic discovery “Los Locos” by Félix Máximo López. His reply was that for personal and professional reasons he could not get involved in other projects. He gave me the phone number of another colleague of his so that I could get in touch with him and I did.
At the same time I informed him of this video with the recording of said Symphony, which I uploaded to Youtube https://www.youtube.com/watch?v=S0npnqSICtY, as well as how he could listen to all the work on my website superopera.com and access the text.
Three days ago I noticed these representations in Australia in 2018, searching on Google, which I found by chance. Curiously, I am not mentioned anywhere for my musicological work and in all the media (very profuse) only he appears as the manager of this work. In these media it is only mentioned by “the Symphony” by Félix Máximo López, without specifying that it belongs to the Opera, and also that the portrait of the composer was painted by Goya (when he was the court portraitist Vicente López Portraña). FML did not write any other Symphony, except that of this Opera, which is also discussed, and coincides, that it is in B flat Major.
You have to be aware of the facts. In some newspapers they say “World premiere of the Symphony”, when my recording has been exposed to the world public for 21 years (hundreds of thousands of clicks, I can prove this with the “logs” on my website), and my video that I uploaded to Youtube is from 2015 …
While in some media they call it “Overtura con tutti instrumenti (World premiere)”, and evidently Félix Máximo López only composed one Opera, which I discovered and edited (First world edition) and published, “El Disparate or La Obra de Los Locos “(in three acts). But while in an Australian medium they mention this Opera, it seems that they do not relate it to said Symphony (that’s why it took me three years to realize it …, because it did not appear in Google searches, well, it did not appear in Google in any way … .). The fact that my discovery appeared 20 years ago in a lot of web pages is no longer relevant because it seems that Google “dumped” them all, sent them to the trash can. Not to mention the abuse of my copyright, of which I continue to maintain 100% of all the work, music and lyrics, by law of several favorable records in the Intellectual Property of the first edition “urtext” (this is the case even though originally in the public domain), and various institutional records with stamped and signed approval. (World premiere). To make matters worse, in the Malaga newspaper, the land of the violinist, they say that the Symphony is from 1780, when I placed the Opera in 1815. Wow, they discovered a symphony from that time and no musicologist knows where they got it from … But what more serious is that the owner of 100% of the copyright, discoverer, publisher and disseminator of the Work writes to them and they do not want to correct it, nor do they answer.
I ask Daniel Pinteño and the Australian Brandenburg Orchestra who has performed the edition on which they have performed those concerts, and they do not answer me. In fact, they block me.
Opiniones reales, no hay trucos de marketing ni perfiles falsos. Hoy día nos encontramos con millones de trucos informáticos y manipulaciones de todo tipo en redes sociales y plataformas de Internet, de gente que busca sin ninguna ética la fama pero a base de mentiras, engaños y estafas. La música clásica ha sido denostada en favor de estos manipuladores que ven una forma fácil, tramposa de llamar la atención y conseguir con ello grandes beneficios.
Esta lista que expongo aquí ha sido recopilando una a una las impresiones sobre mis grabaciones. Últimas impresiones desde solo apenas unos meses, de las muchísimas que he recibido en 20 años. Me imagino pues, que todo el mundo puede decir que es muy bueno y querer ocupar grandes cargos, que se les hagan grandes homenajes, grandes conciertos, condecoraciones, pero resulta que no son capaces de que más de cuatro personas les feliciten.
En fin, así está el mundo y que cada cual haga sus propias valoraciones.
