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Cristóbal (Carlos Domingo Romualdo y Ricardo) Oudrid y Segura ((:Kɾis´toβal Ouð´ɾið i Se´ɣuɾa), 7 February 1825 – 13 March 1877) was a Spanish pianist, conductor, and composer. He is noted for his many contributions to the formation and development of the zarzuela genre in Spain during the second half of the 19th century. He was a gifted musician—but with little technical knowledge, which he bragged about to receive more credit from others with relation to his creations. This habit earned him the scathing criticism of people like Antonio Peña y Goñi who, nevertheless, praised the bright, sensual and cheerful ease with which Oudrid used to bring to life the true meaning of the Spanish song. During a successful career of more than 25 years, Oudrid produced over a hundred works, many in association with other composers. His first musical presentation was the Andalusian zarzuela ''La Venta del Puerto o Juanillo El Contrabandista,'' premiered at Teatro del Príncipe in 1846. His second venture was ''La Pradera del Canal,'' a collaborative work with composers Luis de Cepeda Baranda and Sebastián Iradier, premiered at Teatro de la Cruz in 1847. As a founding father of Spanish musical nationalism, he was instrumental in bringing the zarzuela to a national status, in the company of other prominent artists such as Francisco Asenjo Barbieri, Joaquín Gaztambide, Rafael Hernando, José Inzenga, and baritone Francisco de Salas, with whom he formed the ''Sociedad Artística Musical'' in 1851. Oudrid was particularly prolific also as a bandmaster during the 1850s and early 1860s, having conducted the orchestra at Teatro Real, where renowned tenors such as Roberto Stagno (1840–1897) and Enrico Tamberlik (1820–1889) premiered, as well as the orchestra of Teatro de la Zarzuela. His last performance was the rehearsal of the opera ''Mignon'' by the French composer Ambroise Thomas. ==Early life== Cristóbal Oudrid was born in Badajoz on 7 February 1825. His grandfather was a Flemish military bandmaster and director of the National Militia's band stationed near the Portuguese border.〔 His parents were Carlos Oudrid Estarón (1793–1843) and Antonia Segura González (1801–?). His father taught him the rudimentary elements of music theory and the basic notions of Solfège,〔 along with his first piano lessons.〔 Despite his manifested precociousness, and even without knowing the most basic rules of harmony, he began arranging some of Haydn and Mozart's musical compositions for flute, clarion, and cornet, once he was already becoming familiar with some wind instruments such as the clarinet, horn, and oboe, which he learned to play on his own. But without a firm understanding of piano method or further training in composition, his technique became flawed, a problem that persisted throughout his career.〔 Oudrid was then brought by his father to the attention of composer Baltasar Saldoni, then director of Teatro del Príncipe. Still very young, he was musical director of the Liceo de Badajoz. After his father's death on 27 June 1843, Oudrid moved to Madrid the following year with Vicenta Munoz Vallejo, daughter of Jose Muñoz Santano and Pascuala Vallejo; they married in May 1855.〔 His moving to Madrid was with the intention of succeeding as a musician and studying piano with Pedro Albéniz, as a recommendation of his music teacher Baltasar Saldoni, who asked his friends at the weekly magazine ''Semanario Pintoresco Español'' to help Oudrid make a living as a piano player at concerts and coffee shops. Another lucky break was a reference letter from Brigadier Juan Guillén Buzarán, director of the orchestra of Teatro Real, by whom he joined the Royal Orchestra as one of its clarinetists.〔 Around this time, he became known as a successful pianist and arranger of operas,〔 including in his musical programme his own compositions, songs and fantasias. His first song collections were published in 1845 and comprised ''Las Recreos de Artist, Colecion de Consciones y Melodias Espanolas,'' based on the poetry of Ramon Valladares y Saavedra, and instrumental music for piano such as ''Variaciones sobre el Hullabaloo de Jerez,'' ''Fantasía sobre los temas de "Maria de Rohan",'' and ''Hernani.'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cristóbal Oudrid」の詳細全文を読む スポンサード リンク
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