Andrés Felipe Molano Ruiz
- PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
- Tel: (+351) 234 370 389 (ext. 23700)
BiographyColombian pianist, he graduated at Universidad Nacional de Colombia as a student of Ángela Rodríguez in 2014 with a concert in Sala Otto de Greiff, Bogotá – Colombia. He is one of the winners of the OSCUN orchestra Soloists Competition with Camille Saint-Saëns’s The Carnival of the Animals in 2012 at Auditorio León de Greiff, in the same city. Then, he studied Maestría en Pedagogía del Piano with Mac McClure, graduating whit a concert in 2016 at Conservatorio de Música of Universidad Nacional and his degree paper: Contextualización de la Sonata n. 2 op. 61 en si menor de Dmitri Shostakóvich.Currently, he is doctoral student in performance (piano) at University of Aveiro - Portugal with his thesis project called “The futuristic thought in the piano solo repertoire of Leo Ornstein, Henry Cowell and George Antheil” and under the guidance of Helena Maria da Silva Santana and Shao Xiao Ling.
TitleThe futuristic thought in the piano solo repertoire of Leo Ornstein, Henry Cowell and George Antheil
Futurism was an artistic movement that sought to break with the instituted and the conditions and tethers of a past, particularly established by Romanticism. Emerging in the early twentieth century, in Italy, Futurism quickly spread to other countries in Europe and the world, being a movement that wanted to finish, enunciating many authors, what they designated as the death of art and a ruling academicism, arising itself with an evident transcendence and current in his time.
When analyzing the way of thinking and acting of its authors, it is notorious that this movement had a strong impact on the artistic community of its time, but not only on an artistic level, but also on a political, social, cultural and ethical level. Proposing the interaction between the different disciplines of the arts, exposing and integrating the technological innovations of its time, Futurism also intended an alteration of the creative paradigm, enhancing speed, technology, rebellion, the machine and noise experimentation.
Exalting the importance of the futurist movement for the development of artistic and musical creation of the twentieth century, particularly in the United States of America, I will focus on the authors Leo Ornstein, Henry Cowell and George Antheil. These authors are significant, because they allow to expose and highlight, the way that they projected, characterized and told Futurism in their works, especially in some for solo piano.
In these works, the authors, while concretizing futuristic ideals, allow me to make a historical, interpretative and critical view of them, since it is possible to establish links and contrasts between their piano music and a more traditional repertoire. Evidently, there were remnants of a compositional inheritance in its pianism of technical and exploratory challenges of the unusual sonorous qualities of the piano.
Research Group: Creation, Performance and Artistic Research