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    Leonardo Balada

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    Sergio Miguel Miguel
    Leonardo Balada is an American composer of Spanish birth who was born in Barcelona in 1933. He studied at the Barcelona conservatory and later received a scholarship to study at the New York College of Music, graduating from Juilliard in 1960 where he studied with Copland, Tansman, and Persichetti. Balada taught at the United Nations International School and Carnegie-Mellon University, where he became a professor. His works incorporate Spanish folk melodies and experiment with tone clusters, textures, and constructionist techniques.

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    Leonardo Balada

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    Sergio Miguel Miguel
    375 views2 pages
    Leonardo Balada is an American composer of Spanish birth who was born in Barcelona in 1933. He studied at the Barcelona conservatory and later received a scholarship to study at the New York College of Music, graduating from Juilliard in 1960 where he studied with Copland, Tansman, and Persichetti. Balada taught at the United Nations International School and Carnegie-Mellon University, where he became a professor. His works incorporate Spanish folk melodies and experiment with tone clusters, textures, and constructionist techniques.

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    Leonardo Balada is an American composer of Spanish birth who was born in Barcelona in 1933. He studied at the Barcelona conservatory and later received a scholarship to study at the New York College of Music, graduating from Juilliard in 1960 where he studied with Copland, Tansman, and Persichetti. Balada taught at the United Nations International School and Carnegie-Mellon University, where he became a professor. His works incorporate Spanish folk melodies and experiment with tone clusters, textures, and constructionist techniques.

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    375 views2 pages

    Leonardo Balada

    Uploaded by

    Sergio Miguel Miguel
    Leonardo Balada is an American composer of Spanish birth who was born in Barcelona in 1933. He studied at the Barcelona conservatory and later received a scholarship to study at the New York College of Music, graduating from Juilliard in 1960 where he studied with Copland, Tansman, and Persichetti. Balada taught at the United Nations International School and Carnegie-Mellon University, where he became a professor. His works incorporate Spanish folk melodies and experiment with tone clusters, textures, and constructionist techniques.

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    Balada, Leonardo

    (b Barcelona, 22 Sept 1933). American composer of Spanish birth.


    After studying at the Barcelona conservatory, he won a scholarship
    (1956) to study at the New York College of Music; he graduated from
    the Juilliard School in 1960. His composition teachers included Aaron
    Copland, Alexandre Tansman and Vincent Persichetti. He taught at
    the United Nations International School (196370) and at CarnegieMellon University, where he became a professor in 1975.
    Many of Balada's melodies have a Spanish flavour; although his
    works are primarily based on triadic harmonies, they are freely
    coloured by tone clusters, dense overlapping textures and other
    constructionist features. From around 1966 his experimentation with
    these techniques dominated his music, almost to the exclusion of
    melody (Cuatris, 1969; Cumbres, 1971). The two orchestral Homages
    (1975), to Casals and Sarasate, marked a return to a nationalistic
    melodic style. Bright colours and aggressive rhythms are
    characteristic. Whether scored for the piano, tuned percussion,
    pizzicato strings or staccato brass, hard-edged tones are typical. In
    the early stage works (Maria Sabina, 1969; No-Res, 1974) human
    speech is also treated percussively. Later operatic ventures,
    beginning with Hangman! Hangman! (1982), a satire set in America's
    Old West, make liberal use of folk melodies. A more traditionally
    operatic vocal style is used in Zapata (19824) and especially in
    Cristbal Coln (1989), composed for the 500th anniversary of
    Columbus's voyage to America, which also incorporates folk music
    and dissonant orchestral colours. Balada has cited the influence of
    Salvador Dali, with whom he collaborated; his presentation of familiar
    melodies in distorted surroundings often recalls Ives.
    WORKS
    Stage: Maria Sabina (C.J. Cela), nars, chorus, orch, 1969; No-Res (J. Paris), nars,
    chorus, orch, 1974, rev. 1997; Hangman! Hangman! (chbr op, 1, Balada), 1982;
    Zapata (op, 2, T. Capobianco and G. Roepke), 19824; Cristbal Coln (grand op,
    2, A. Gala), 1989; Thunderous Scenes (Balada), cant., 1v, chorus, orch, 1992;
    Thunderous Scenes (cant., Balada), solo vv, chorus, orch, 1992; Death of
    Columbus (op, 2, Balada), 1996; The Town of Greed (chbr op, 1, Balada), 1997
    Orch: Musica tranquila, str, 1960; Pf Conc. no.1, 1964; Gui Conc. no.1, 1965;
    Guernica, 1966; Sinfonia en negro: Homage to Martin Luther King, 1968;
    Bandoneon Conc., 1970; Cumbres, band, 1972; Persistencies (Sinfonia
    concertante), gui, orch, 1972; Steel Stym., 1972; Auroris, 1973; Ponce de Leon, nar,
    orch, 1973; Conc. no.2, pf, wind, perc, 1974; Homage to Casals, 1975; Homage to
    Sarasate, 1975; Conc., 4 gui, orch, 1976; 3 Anecdotes, castanets/wood perc, orch,
    1977; Sardana: Dance of Catalonia, 1979; Quasi un pasodoble, 1981; Quasi
    Adelita, wind band, 1982; Vn Conc., 1982; Zapata: Images for Orch, 1987;
    Fantasias sonoras, 1987; Alegrias, 1987; Divertimentos, str, 1991; Columbus:
    Images for Orch, 1991; Celebration, 1992; Sym. no.4 Lausanne, chbr orch, 1992;
    Song and Dance, wind ens, 1992; Music for Ob and Orch (Lament from the Cradle
    of Earth), 1993; Union of the Oceans, band, 1993; Morning Music, fl, orch, 1994;

    Concierto magico (Conc. no.2), gui, orch, 1997; Folk Dreams, suite, 19958;
    Shadows, Line and Thunder, Echoes; Reflejos, fo, str, 1999 [from chbr work]; Pf
    Conc. no.2, 1999; Passacaglia, 2000; Music for Fl and Orch, 2000
    Vocal: 4 canciones de la Provincia de Madrid, song cycle, 1v, pf, 1962; 3
    Cervantinas, song cycle, 1v, pf, 1967; 3 epitafios de Quevedo, song cycle, 1v, pf,
    1967; Las moradas (S. Teresa de Avila), chorus, 7 insts, 1970; Voices no.1, 1972;
    Torquemada (Balada), B/Bar, 14 insts, chorus, 1980; En la era, song cycle, 1v, pf,
    1989
    Chbr and solo inst: Musica en 4 tiempos, pf, 1959; Sonata, vn, pf, 1960; Conc., vc,
    9 insts, 1962; The Seven Last Words, org, 1963; Geometrias: no.1, fl, ob, cl, bn, tpt,
    perc, 1966; no.2, str qt, 1967; no.3, bandoneon, 1968; Cuatris, 4 insts, 1969; Minis,
    bandoneon, 1969; End and beginning, rock ens, 1970; Mosaico, brass qnt, 1970;
    Elementalis, org, 1972; Tresis, fl/vn, gui, vc, 1973; 3 Transparencies of a Bach
    Prelude, vc, pf, 1976; Transparency of Chopin's First Ballade, pf, 1977;
    Persistencies, pf, 1978; Preludis obstinants, pf, 1979; Sonata, 10 wind, 1980;
    Reflejos, fl, str, insts, 1987; Diary of Dreams, vn, vc, pf, 1995
    Gui: Lento with Variation, 1960; Suite no.1, 1961; 3 Divagaciones, 1962; Analogias,
    1967; Apuntes (Sketches), 4 gui, 1974; Minis, 1975; 4 Catalan Melodies, 1978;
    Persistencies, 1979
    Principal publishers: Belwin-Mills, Beteca Music, General, G. Schirmer

    BIBLIOGRAPHY
    Leonardo Balada (Pittsburgh, 1982) [brochure of Carnegie-Mellon
    University]
    P.E. Stone: He Writes for the Audience, but on his own Terms, New
    York Times (21 Nov 1982)
    P.E. Stone: Leonardo Balada's First Half Century, Symphony,
    xxxiv/3 (1983), 85
    DAVID WRIGHT

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