Análisis estructural y formal relacionado a la interpretación de la evocación para trompeta y piano de Jorge Pinzón.

Abstract

During the academic training of a trumpet player in a Colombian university, it is common for all the musical literature, and therefore the technique, interpretation, and repertoire for solo trumpet that is performed, to be of European and North American origin. This position is very valid, since these are regions where the study of this instrument has a much older tradition and in which, especially in Europe, the basic principles of its construction and execution were developed. However, one cannot make the mistake of ignoring the works created in the local context, especially the Colombian context. The Evocation for Trumpet and Piano (1997) by JORGE HUMBERTO PINZON MALAGON (Colombia, 1968), is a work that is rarely performed locally and even less frequently included by teachers in professional training programs as a working repertoire for their students. As a composer, he has been recognized nationally and internationally and his works have been performed in more than a dozen countries, which positions him as a relevant figure in the musical field of our country.