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Luis Humberto Salgado (Cayambe 1903 - Quito 1977) was an Ecuadorian composer. He was regarded as one of the most influential and prolific composers of his country. ==Biography== He was taught by his father, the composer Francisco Salgado, a former student of the Italian composer Domenico Brescia (who championed Nationalism〔Apel, Willi, 1969, p. 253〕 in Chile and Ecuador before permanently settling down in the USA. Luis Salgado himself was never a student of Brescia's. During the 1920s, Luis Humberto Salgado made a living as a pianist for silent movies in Quito.〔edufuturo〕 He later he worked as a critic, teacher, choir and orchestra conductor. He also acted as director of the ''Conservatorio Nacional de Música''. In his essay ''Música vernácula ecuatoriana (Microestudio)'', published in 1952 by ''Casa de la Cultura Ecuatoriana'', he expresses his thoughts about the creation of a national form. For example he replaced the classical symphonic pattern (Allegro - Larghetto - Allegretto Scherzo - Allegro Vivace) with a sequence of Ecuadorian folk dances: :: Ecuadorian Symphony :: I ''Sanjuanito'' :: II ''Yaraví'' :: III ''Danzante'' :: IV ''Albazo'', ''Aire típico'' or ''Alza''〔Salgado, Luis H. 1952.〕 "Luis Humberto Salgado was the leading figure of his generation. His symphonic suite ''Atahualpa'' (1933), his ''Suite coreográfica'' (1946), the ballets ''El amaño'' (1947), and ''El Dios Tumbal'' (1952) and other works show strong nationalistic feeling. Salgado also wrote two operas, ''Cumandá'' (1940, rev. 1954); ''Eunice'' (1956-7) that were never produced. Salgado was not an exclusively nationalist composer, as the varied style of his eight symphonies shows. In his later years, he even relied on atonality and tried his hand at 12-note composition"〔Béhague 2001, 7:871.〕 Though only two of his operas are mentioned in most music literature, he composed another two, together with nine symphonies, several concertos, several ballets. "Salgado was a prolific composer".〔Stevenson 2001.20:685〕 He was both a nationalist and a modernist composer. As early as 1944, he wrote ''Sanjuanito Futurista'' for piano, using the rhythm of a traditional Ecuadorian dance within the dodecaphonic writing. He was in his early forties when he started experimenting with new techniques but was not acknowledged as a modernist until later in his life. 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「Luis H. Salgado」の詳細全文を読む スポンサード リンク
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