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A CATALOGUE OF WORKS BY COMPOSER JUAN LÉMANN CAZABON

 

A CHRONOLOGICAL LIST OF WORKS, WITH DETAILS

  • “Marcha Nupcial”(Wedding March), (1949). For organ or piano. Composed as an alternate to Mendelssohn’s Wedding March and performed by Lémann at numerous church weddings. (3:00)

  • “Variaciones sobre el tema ‘La Vaca Lechera’,”(Variations on a Theme: La Vaca Lechera) for piano (1947-1948). One of Lémann’s best-loved humorous improvisations, created while a student. It explores the various ways some of the great composers would have rendered this children’s classic, including in tango, jazz, Hungarian song and Chinese melody tempo. The Variations were first formally performed by Lémann in 1952 in the National Conservatory Auditorium as part of a fund raiser for a study tour. After numerous requests, in 1965 an improvised performance of the Variations and other comical themes was recorded on Ironías Musicales,an LP album released under the L. Ortiz label. The Variations inspired the children’s ballet La Vaca Cornelia, first performed in 1970 by the University of Chile Chamber Ballet with choreography by Gaby Concha. A success at the time, the ballet was reprised in 1987 and 1994, becoming a long-standing box office favorite. The Variations eventually became a valuable aid in teaching music styles to children and composition students. (15´00)s. In 2007 they were re-edited in CD by SVR Productions.
CD Vaca lechera
CD "Juan Lémann Variaciones sobre el tema "La Vaca Lechera" y otras humoradas"
Ironías Musicales
LP "Ironías Musicales"
  • “Vals”(Waltz). Incidental music for accordion and piano. (1950). (2:30)

  • “Danza de la brujita”(The Little Witch Dance) for piano. (1950). Instructional piece for children. (2:50)

  • “Pierrot”, for piano (1951). Incidental music composed for Alejandro Jodorowsky’s mime play, improvised and performed on piano in the wings by Lémann during performances at the Santiago Municipal Theater. This first official commission encouraged him to keep composing for the stage. (5:00).

  • “Tonadilla” (Tune), (1951). Instructional piece for piano. (1:50)

  • “Homenaje a Leng”(Tribute to Leng), (1952). Instructional piece for piano. A prelude of sorts, with an air of nostalgia evocative of Leng’s musical atmosphere. Released on cassette with Graciela Yazigi on piano by the National Composers Association (ANC) in Piano para aprender pianoand on the CD Piano chileno de ayer y de hoy under a FONDART grant (SVR Label). (2:00)
    Piano Chileno de Ayer y Hoy  para aprender piano
    CD "Piano Chileno De Ayer y Hoy" Cassette "Piano para aprender piano"

  • “Pequeña Suite”(Minor Suite), for piano, (1953): 1) Allemande, 2) Courante, 3) Saraband, 4) Aria.Unpublished class assignment with J.O. Salas, found after Lémann’s death among manuscripts donated to the Directorate of Libraries, Archives and Museums of Chile (DIBAM). First performed by Erika Vöhringer in the National Library America Hall.

  • "3 Invenciones Cromáticas a 2 voces para Piano”(Three Chromatic Inventions for Two Voices for Piano), Instructional piece. (1954). (5:00).

  • “Aleluya”(Hallelujah), (1958). For mixed choir. Directed by Lémann, first performed in 1958 by the Experimental Arts Education School Choir of the Ministry of Education Choral Festival (Choir won First Prize). This short work, based on the spirit of jubilation contained in the word “Hallelujah”, is considered a model of choral virtuosity. Released on the album Canciones para la juventud de América, Vol. II (Washington, DC, Unión Panamericana, 1960)and by the University of Chile’s Instituto de Extensión Musical on Compositores de Chile, Serie C, Obras Corales.Also included on the CD Paisaje musical chileno,recorded in 1999 by the Catholic University of Temuco Chamber Choir, directed by Ricardo Díaz Arcos (SVR-FONDART Label), and on the CD Antología coral chilena, recorded in 2002 at the Goethe-Institut by the Catholic University Choir directed by Mauricio Cortés. (ANC-SVR Label) (1:35).

    Analogía Coral Chilena Paisaje Musical Chileno
    CD "Antología Coral Chilena" CD "Paisaje Musical Chileno"

  • “Ojitos de Pena”(Sad Eyes), (1958). Lyrics by Max Jara, for mixed and female choir. First performed in 1958 under Lémann’s conduction by the Experimental Arts Education School Choir at the Ministry of Education Choral Festival (Choir won First Prize). The music is a perfect match for lyric emotiveness. Included on the CD Coro del Colegio Santa Úrsula canta a Europa y Latinoamérica, directed by Marcela Canales, in concert at the Santa Ursula School Chapel in Vitacura. (SU-SVR Label). (3:15).

    Coro del Colegio Santa Ursula, Canta a Europa y Latinoamérica
    CD " Coro del COlegio Santa Ursula, Canta a Europa y Latinoamérica"

  • “Sonata para Arpa”(Sonata for Harp), (1960). Written for and first performed by Arlette Bezdecki at the Contemporary Music Association concert series held in the Santiago Municipal Theater’s Philharmonic Room in 1960. The work reveals a serious constructive sense whose clear and logical idiom successfully eschews all commonplaces in the chosen instrument. A cassette tape recording is enclosed with musicologist Samuel Claro Valdés’ book Oyendo a Chile. (8:35).
    Oyendo a Chile
    Libro, del musicólogo Samuel Claro V. "Oyendo a Chile"

  • “Sonata para Violín solo”(Sonata for solo violin), (1961). First performed by David Serendero at the Contemporary Music Association concert series held in the Santiago Municipal Theater’s Philharmonic Room in 1961. (10:00).

  • “El Cuerpo y la Sangre”(Body and Blood), (1961). Incidental orchestral music composed for the homonymous feature-length film by Rafael Sánchez, of the Catholic University Film Institute. Performed by the Symphony Orchestra of Chile (40 musicians) directed by Agustín Cullel. The film score, Lémann’s first work for a large orchestra, showcases his mastery of orchestral composition and exceptional skill at matching visual pace and dramatic expression. Released in 1961 in LP form by the Catholic University of Chile under the Odeon Label. The film was later mastered and released on DVD by the National Film Archives of the Government’s Centro Cultural Palacio de la Moneda (30:00).

    El Cuerpo y la Sangre
    LP "El Cuerpo y la Sangre"

    DVD El Cuerpo y la Sangre
    DVD "El Cuerpo y la Sangre"

  • “Pieza para Dúo”, para violín y violoncello (Piece for a Duo). (1962) for violin and cello. (1962). First performed by Francisco Quezada (violin) and Jorge Román (cello), at the University of Chile Main Hall and cited during the VIII Chilean Music Festival organized by the University’s Instituto de Extensión Musical. Lémann’s intent was to instill a strong, sometimes asymmetric rhythmic sense to this one-movement piece consisting of five dance themes, each flowing from one another. The 1962 version is included on the CD Juan Lémann, un espíritu de amor por la música, released in 1999 under a FONDART grant by the SVR Label. (6:20).

  • “Variaciones para Piano”(Variations for Piano), (1962). Written for and first performed by Oscar Gacitúa. A prize winner at the VIII Chilean Music Festival organized by the University of Chile’s Instituto de Extensión Musical and held in the University’s Main Hall. In this series of twelve variations on a theme of his own, Lémann melds serial dodecaphonic and non-dodecaphonic elements as a vehicle for a lyrical, cantabile, and sometimes rhythmic context. Using a contemporary idiom, this piece gives free rein to subjective expression –pathos, tragedy, melancholy, irony- reminiscent of a certain romanticism coupled with a strong sense of rhythm. The Variations were recorded in 1974 on LP by Gacitúa under the auspices of the Ministry of the Government Secretary-General Cultural Department and the Chilean-American Cultural Institute (Asfona Label). In 1975 this piece was performed at the UNESCO International Rostrum of Composers held in Paris. The 1974 recording was re-released in 1999 on the CD Juan Lémann, un espíritu de amor por la música, under a FONDART grant (SVR Label). (10:00)

    Alternativas, variaciones, 10 preludios

    LP "alternativas, variaciones, 10 preludios"


  • “Cinco Piezas para Niños”(Five Children's Pieces): (1.Contrapunto, 2. El pequeño violinista, 3.El soldadito, 4. Tonada, 5.Pequeño Estudio)(1962). Instructional pieces for piano. The first four are included in Carlos Botto (ed.), El pianista chileno, Volumen I, Serie D No. 1 (Faculty of Musical Arts and Sciences and Ediciones del IEM, University of Chile) while the fifth is included in Volume II of the series, released in 1969. The Pequeño estudiois featured on the cassette Piano para aprender piano and on the CD Piano chileno de ayer y hoy,featuring Graciela Yazigi (released by the ANC under a FONDART grant). (4:30).

    Piano para aprender piano
    Cassette "Piano para aprender piano"

  • “Cuarteto para Flautín, dos Flautas y Clavecin”(Quartet for Piccolo, two Flutes and Harpsichord), (1962). First performed by Guillermo Bravo (piccolo), Juan Bravo, Josefina San Martín (flutes) and Ruby Reid (harpsichord) at the IX Chilean Music Festival held in the University of Chile Main Hall in December 1964. In this thematically complex four-movement piece, Lémann adapted the dodecaphonic system to a style focusing mostly on rhythmic elements of the purest tonal color. A live recording of an April 1966 concert by these musicians is included on Juan Lémann, un espíritu de amor por la música, CD released in 1999 by the SVR Label under a FONDART grant. (14:40)

  • “Compro y vendo”(Buy and Sell), (1963). Incidental music improvised on piano for a short film written and directed by Rafael Sánchez at the Catholic University of Chile Film Institute. A work of fiction shot practically in its entirety using stop motion techniques, yet using real people. (12:00)

  • “Burlesca para Piano”(Burlesque for Piano). (1963) Instructional piece included in Carlos Botto (ed.), El pianista chileno, Volumen II, Serie D No. 2 (Faculty of Musical Arts and Sciences, Ediciones del IEM, University of Chile, 1969). (2:30)

  • “Misa Veni Domine”, for unison chorus and organ (1964). Commissioned by the Archdiocesan Sacred Music Commission, this piece pioneered introduction in Chile of liturgical music with Spanish-language texts following the Second Vatican Council. First sung by the Benedictine Monks of Las Condes. Released by the Archdiocesan Sacred Music Commission in Kyrial, tres misas litúrgicas, an LP recorded in 1965 by the Santiago Pontifical Seminary Choir, members of the National Conservatory, and soloist Carlos Coopman, directed by Fernando Rosas. RCA Label. Version was adapted for a new text in 1985. (12:00)

    Kyrial 3 misas Litúrgicas
    LP "Kyrial"

  • “Tantum Ergo”, (Himno al Stmo. Sacramento)(Hymn to the Holy Sacrament) (1964). For unison chorus and organ, Spanish translation by León Tolosa. Commissioned by the Archdiocesan Sacred Music Commission. First sung by the Benedictine Monks of Las Condes and released on Kyrial, an LP recorded in 1965 by the Santiago Pontifical Seminary Choir, members of the National Conservatory and soloist Carlos Coopman, directed by Fernando Rosas. RCA Label. (1:00)

  • “El Tony Chico”(The Pint-Sized Clown),(1964). Incidental music for the homonymous play by Luis Alberto Heiremans. For guitar, piano, banjo, voice, choir and sound effects. First performed in 1964 at the Camilo Henríquez Theater by the Catholic University’s Experimental Theater Troupe directed by Eugenio Guzmán. Recorded by Luis López (guitar), Lémann (piano), Sergio Miquel (banjo) and the Philharmonic Choir. Solo melodies were sung on stage by the play’s actresses. As the storyline and poetry were characteristically Chilean, Lémann borrowed from the Chilean folk tradition –except for a shimmy in a festive scene- and used the guitar as the main accompanying instrument, thus emphasizing the play’s Chilean roots. (16:00).

  • “Ejercicios Interválicos para la iniciación a la Lectura Musical”(Intervallic Exercises: Introduction to Music Reading), (1965). Instructional piece for piano.

  • “Aleluya”(Hallelujah), (1966). For female choir. First performed in 1968 by the Ilma Quigley Vocal Ensemble at the Santiago Community Church. This piece, originally conceived as the closing theme for El tony chico, is profoundly mystical in character. Released by the Metropolitan Teaching Science University on the cassette Antología de música coral chilena,featuring the University Choir directed by Alejandro Reyes. (3:30).
    Antología de música Coral Chilena
    Cassette "Antología de Música Coral Chilena"

  • “Topografía de un Desnudo”(Topography of a Nude), (1968). Incidental music for the homonymous play by Jorge Díaz. For clarinet, piano, double bass and percussion (claves, snare drum, bongoes, temple blocks, tam-tams, small bass drum, and jazz drums). First performed in 1968 by the Catholic University’s Experimental Theater Troupe at the Camilo Henríquez Theater. The piece, which owes much to jazz -especially abstract jazz- resorts to a series of, for example, polyphonic expedients, along with variations using sparse notes close to serial treatment but with intervals avoiding formation of dodecaphonic sonorities. The end result is the perfectly adequate expression of developments in the play. Musicians: Orlando Gutierrez (clarinet), Oscar Gacitúa (piano), Ramón Bignon (double bass), Guillermo Riffo and Arturo Giolito (percussion) (16:00).

  • “Teorema”(Theorem). (1968). Electronic music. Composed at the Electroacoustic Music Studio of the University of Chile’s Faculty of Arts. Included on CD “Panorama Electroacústico, Colección de Música Electroacústica Chilena”, released on 2011 by the ARCIS University, LAIM, CECH and Pueblo Nuevo Netlabel. (2:40)

    Panorama Electroacústico, Colección de Música Electroacústica Chilena
    CD "Panorama Electroacústico, Colección de Música Electroacústica Chilena"

  • “Tensiones para piano”(Tensions for Piano). (1969). A study of harmonic color relative to the degree of interval acoustic tension, dedicated to composer Juan Amenábar. While brief, this work breaks away from thematicism and attempts to leverage the sound space, carefully determining sound parameters and melodic-harmonic tension as per mathematical tables determined by Juan Amenábar. Although formally different from previous works, Tensiones defines a stylistic common denominator as to rhythmic force and concern for harmonic color within an atonal language. Recorded by Lémann and performed in 1980 by Cecilia Plaza at the Isidora Zegers Room, Faculty of Arts, University of Chile. (2:00)

  • “Central Hidroeléctrica El Toro”(El Toro Hydroelectric Power Station),Part 2. (1970). Incidental music for the homonymous ENDESA documentary, for five instrumentalists and 13 instruments: clarinet (Jaime Escobedo), violin (Cesar Araya), piano (Oscar Gacitúa), cello (Angel Cerutti) and percussion (timpani, piatti, xylophone, glockenspiel, drum, bongo, woodblocks, and triangle (Guillermo Riffo). The film, produced by the Catholic University Film Institute, highlights the local landscape and excavation of a tunnel of monumental proportions. Adding sound was rendered redundant as the music more than aptly suggested the atmosphere. (10:00).

  • “Leyenda del Mar”(Leyend of the Sea). (1977-78). Music for a ballet in three acts (movements), based on the legend of La Pincoya, a mainstay of the mythology characteristic of the Chiloé Archipelago. The piece was inspired in Nicasio Tangol’s Chiloé, archipiélago mágico, which describes La Pincoya as “A goddess embodying the ocean’s bounty who rules whether fish and shellfish abound or run short”. The orchestration uses the widest possible range of timbres produced by a limited set of instruments, including flute, oboe, clarinet, bassoon, horn, trumpet, trombone, first violin, second violin, viola, cello, double bass, pianoforte, and percussion (3 timpani, 3 tom-toms, 2 drums, 2 bongoes, 1 conga drum, 4 temple blocks, 2 wood blocks, tam-tam and cymbals of various sizes, glockenspiel, xylophone, vibraphone, marimba, metal and bamboo rattles, güiro, and maracas). The piece, performed by 18 Symphony Orchestra soloists, is considered a masterpiece. It is rich, suggestive, vital, and boasts remarkable dynamism and unity. Using a limited set of instruments, Lémann achieved superb orchestral color and breathtakingly rich sound. The sonorities are in themselves of such plasticity that no translation to a visual medium is required. The work, dedicated to Lémann’s wife María Luisa, was awarded a prize and partially performed at the 1979 Chilean Music Festival, then first performed in full by the National Ballet of Chile, with choreography by Fernando Beltramí, at the 1980 official season of the Symphony Orchestra of Chile under the baton of Víctor Tevah. (See Revista Musical Chilena, 1980, XXXIV, No. 152, pp. 23-28). Recorded by the original Symphony Orchestra players and released in 1980 by the University of Chile’s Faculty of Arts on the cassette entitled “Divertimentos, Visiones y Leyenda”.  In 1984, Lémann slightly modified the first part. The 1980 version was re-released in 1999 on the CD Juan Lémann, un espíritu de amor por la música, made possible by a FONDART grant (SVR Label). (26:00).

    Juan Lémann, Un Espíritu de Amor por la Música
    CD "Juan Lémann, Un Espíritu de Amor por la Música"

    Divertimento para 8 Instrumentos, Divertimento Cordoves, Visiones Infantiles, Leyenda del Mar
    Cassette " Divertimientos, Visiones y Leyenda", Letelier-Valdés, Amenabar, Riffo, Lémann.

  • “Tres Variables para Piano”(Three Variables for Piano) (1977-1978). First performed in 1980 by Margarita Herrera at the Santiago Goethe-Institut and released in 1981 on the cassette Cuatro obras para piano by the Euterpe/University of Chile’s Faculty of Arts label. This imaginative, vigorous work is yet another example of Lémann’s consummate mastery of contemporary language. In one of the piece’s foremost formal characteristics, its parameters fluctuate constantly. The work is striking for its density and atmosphere of remarkable suspense. (13:00)

    4 Obras para Piano Obra para piano Sello Alhue
    Cassette "4 Obras para Piano" Cassette " Obra para Piano", del Sello Alhué

  • “Cuatro Obras Corales para Voces Blancas”(Four Choral Works for Children's Choir) (1979). Lyrics by Andrés Sabella.
    1. “Suite Marcela”,
    2. “Variaciones en asonantes”,
    3. “Corranda de la Gacela”,
    4. “Edicto de la plaza de Trapala”.

    These works were selected in the Choral Composition Competition organized by the ANC to mark the International Year of the Child (1979) and published in 1980 by the Ministry of Education’s Cultural Extension Department in the book Coros infantilesfor children aged 7 to 12. (4:00).

  • "Himno de la Academia Diplomática de Chile“(Anthem of the Chilean Diplomatic Academy), for voices and piano (1983). Lyrics by Mario Barros van Buren.

  • “Cuatro Villancicos para Voces Blancas"(Four Christmas Carols) for children’s choir (1985). (6:50)
    1. “Hay Estrellas, Sol y Luna”, for two a cappella voices. Traditional.
    2. “Pastores fueron cantando”, Unison chorus, three voices, organ. Lyrics by Remberto Latorre.
    3. “A la Madrugada”, Three voices. Traditional.
    4. “Salga el Sol”. Tres voces a capella. Texto tradicional chileno.Three a cappella voices. Traditional.

    Winner of an award at the IV Christmas Carol Festival organized by the Las Condes Cultural Corporation.

  • “Obertura de Concierto”(Concert Overture) for symphony orchestra (1986). First-prize winner at the Composition Contest sponsored by the University of Chile’s Faculty of Arts in 1986 to mark the 50th anniversary of the National Composers Association of Chile. First performed in Santiago and Viña del Mar by the Symphony Orchestra of Chile, directed by Jacques Bodmer, at the 11th concert of the 1986 official season. Considered an outstanding, well thought-out, imaginative and vigorous piece, it uses the large orchestra with deep-seated mastery. This work has been performed by the Symphony Orchestra of Chile several times under the direction of various foreign directors. In 1998 it was selected as an entrant in the prestigious International Society for Contemporary Music’s World Music Days Festival held in Bucharest, Romania and Cluj, Moldova on 25 September and 2 October 1999. Released in 1999 on the CD Juan Lémann, un espíritu de amor por la música, under a FONDART grant (SVR Label). (6:39)

  • “Maestranzas de Noche”(Rail Yards at Night) (1987). Lyrics from Pablo Neruda’s Crepusculario. For contralto, clarinet, violin, cello and piano. Dedicated to the Bartok Ensemble (Carmen Luisa Letelier, contralto; Patricio Cádiz, violin; Valene Georges, clarinet; Eduardo Salgado, cello; Cirilo Vila, piano). First performed by the Ensemble as a tribute to Lémann’s 60th birthday on 25 August 1988 during the II International Contemporary Music Festival held at the Santiago Goethe-Institut. Recorded and produced by the Ensemble and the SVR Label with support from the University Arts Fund on the cassette Música contemporánea latinoamericana, it is also included on the CD América en vanguardia, Bartok Ensemble en vivo, Alerce Label. Lémann emphasized the eloquence of the poem with an expressionist score of imaginative colors and dissonant vitality. (3:37).

    Ensemble Bartok
    CD "América en Vanguardia, Ensemble Bartok en vivo"

  • “Puentes”(Bridges) (1987). Lyrics from Pablo Neruda’s Crepusculario. For contralto, clarinet, violin, cello and piano. Dedicated to the Bartok Ensemble. First performed by the Ensemble as a tribute to Lémann’s 60th birthday on 25 August 1988 during the II International Contemporary Music Festival held at the Santiago Goethe-Institut. Recorded and produced by the Ensemble and the SVR Label with support from the University Arts Fund on the cassette Música contemporánea latinoamericana, it is also included on the CD América en vanguardia, Bartok Ensemble en vivo, Alerce Label. The music is a compelling match for the eloquence and strength of the poem. (4:43)

    Música Contemporánea Latinoamericana, Ensemble Bartok
    Cassette "Música Contemporánea Latinoamericana"

  • “Fantasía Concertante para Piano y Orquesta”(Fantasia Concertante for Piano and Orchestra) (1987). Dedicated to pianist Margarita Herrera, first performed on 2 December 1988 by Herrera and the Symphony Orchestra of Chile under Lothar Koenigs during the Orchestra’s official concert season. This is a dynamic, compelling, freeform work of significant orchestral color with both varied and unified structural features. Lémann ensures that the solo piano shines while retaining the connection to orchestral color. (10:25)

  • “Cuatro Minipiezas para piano”(Four Small Pieces for Piano (1989). Instructional piece for children. Includes La Tortuga aburrida, El relojito, Campanitas, and Ronda provenzal. Dedicated to granddaughters Blanche and Nicole. Published on the "Small Anthology of the Chilean Composer for piano" by M. Eugenia Alarcón, of the Inter-American Institute of Music Education of the University of Chile's Faculty of Arts, in 1993. Recorded by Graciela Yazigi on the cassette Música para piano - Compositores chilenos, released in 1996 by the University of Chile’s Faculty of Arts. (5:00).

    Musica para Piano Compositores Chilenos
    Cassette "Música para Piano Compositores Chilenos"

  • “Eólica”(Aeolian) For solo cello. (1990). First performed and recorded by Patricio Barría for the CD Música chilena del siglo XX, Volumen II,released by the ANC under a FONDART grant (SVR Label). Recorded and released in 2004 by Pablo Mahave-Veglia on the CD Dualidad, Chilean Music for Solo Cello under the Eroica Classical Records label. The title is a play on words between ‘Aeolian harp’ and ‘open string’. Using open strings throughout in tandem with all other sounds in the chromatic scale, Lémann produced a rhapsodic piece of permanent motivic development. (10:05)

    Música Chilena del Siglo XX Volúmen II Dualidad
    CD "Música Chilena del Siglo XX, Volúmen II" CD "Dualidad, Chilean Music for Solo Cello"

  • “Akustika”for alto flute, viola da gamba, and pianoforte (1992). Commissioned by Ana María Cvitanic, first performed and recorded on CD by Víctor Rondón, M. Ángel Aliaga, and Ana María Cvitanic. Released by the Metropolitan Teaching Science University on the CD Música contemporánea chilena para dúos y tríos de flautas dulces, viola da gamba y piano, under a FONDART grant (SVR Label). This piece achieves sound balance through dexterous use of the sound density of the parts assigned to each instrument, in themselves acoustically dissimilar. The infrastructure is provided by harmony, based in turn on an intervallic consonant-dissonant play. (4:04).

    Música Contemporanea Chilena Duos y Trios
    CD "Música Contemporánea Chilena Duos y Trios, para flautas dulces - viola da gamba - piano."

  • “Mirada Retrospectiva”(Retrospect) (1992). For mixed choir and piano, based on the homonymous work by Guillermo Blest Gana. First performed in August 1992 by the Catholic University Chamber Choir directed by Ricardo Kistler, with Erika Voehringer at the piano. Lémann’s expressionist approach impressively underscores the verse climate, rendering it through dramatic unisons, heart-rending dissonances, and a section for orchestral reverberation keyboard.

  • “Variaciones sobre el Himno de la Universidad de Chile”(Variations on the Anthem of the University of Chile) (1992).Written in tribute to the University of Chile sesquicentennial. For trumpets in C I/II, percussion (snare drum, 3 tom-toms, 2 BG bongoes, suspended cymbal), and piano.

  • “Barrio sin luz”(Unlit District) (1992).For soprano and piano. Lyrics by Pablo Neruda, commissioned by Patricia Vásquez. First performed and recorded by Vásquez and Elvira Savi on the cassette Retrospectiva de la música vocal chilena para voz y piano, with support from the Chilean Academy of Fine Arts and the University Arts Fund (SVR Label). The introduction first suggests a static environment, then leads to a subdued discourse where music seeks only to underpin the text and track the emotional curve of a work of poetry filled with profound content and solid structure. (5:40).

    Retrospectiva de la Música Vocal Chilena para voz y piano
    Cassette "Retrospectiva de la música vocal chilena para voz y piano"

  • “Rapsodia”(Rhapsody) for guitar (1995). Dedicated to Luis Orlandini. First performed by Orlandini at the Chile Institute and later at several venues, including in 1996 at the Rachmaninov Room of the Moscow Tchaikovsky Conservatory and the Claudio Arrau Room of the Chilean Embassy to the Russian Federation. A version by Orlandini is on CDs Música de concierto chilena - Obras para guitarra de compositores chilenos and Bicentenario de la guitarra chilena, Vol. 1, produced by the Chilean Academy of Fine Arts (SVR Label). This is a lengthy, diverse piece organized in consecutive sections wherein Lémann explores the instrument’s technical and expressive potential, resulting in a guitar that is strong and delicate at once, with a dash of virtuosity. The prevailing contrast and heterogeneity achieve a piece that is fresh, sometimes mysterious and meditative, then playful, almost humorous. (5:40)

    Música de Concierto Chilena Bicentenario de la Guitarra Chilena, Volúmen 1
    CD "Música de Conciento Chilena" CD "Bicentenario
    de la Guitarra Chilena. Vol 1."

  • “ Al Estilo del Siglo XIX”(In 19th Century Style). For piano. Habanera, polka, and tune (1996). (6:56)

  • “Resonancias para Piano”(Resonance for Piano) (1997). Released in Vol. II of Pequeña antología del compositor chileno para piano. First performed by Erika Vöhringer. (2:00).

  • “Himno de la Universidad Nacional Andrés Bello”(Anthem for Andrés Bello University) (1997). Version for choir and orchestra. Words by Mario Barros van Buren.

NOTE:Comments excerpted from critic reviews and opinions written by musicologists, music critics, choirmasters, orchestra conductors, composers and performers, as well as observations by Lémann himself.

 

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