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Awilda Villarini

A native of Puerto Rico who has made New York City her home for the past fifteen years, composer-pianist Awilda Villarini has gained increasing international attention for her unique synthesis of Hispanic and European musical traditions Educated at the Juilliard School of Music and New York University (where she received a Ph.D. in piano performance) in New York, the Peabody Conservatory in Baltimore and the Hochschule fur Musik in Vienna, Dr. Villarini has created work for piano, chamber music, theatre and orchestra. While residing in New York City she has taught at N.Y.U. and C.U.N.Y. International honors include awards from Artists International and commissions from the National Endowment for the Arts and The Louis Vogelstein Foundation. Her work has been performed at the American Composers' Orchestra Festival at Carnegie Hall in New York, at the Salle Gaveau in Paris, at the Brahms Saal in Vienna, and other international musical venues. Her musical style is eclectic and her works are strikingly innovative. Today, considered one of the most gifted younger composers working on the international scene, Ms. Villarini continues to extend her musical vocabulary, exploring the possibilities of electronic sound and multimedia.


Works in the NYWC Catalog:

Dos Caonciones de Amor: Es un Lamento; Para mi Corazon

Duration: 4'
Instrumentation: Pn, Mez, or Sop, Pn
un Lamento - Poem by Julia de Burgos; Para mi Corazon - Poem by Pablo Naruda. Performed by Isabelle Ganz. Reviewed by D. Thompson, San Juan Star music critic, "I was specially impressed by two songs by Awilda Villarini. Here, I believe the composer's experience resulted in not hurrying the text, in taking time for the phrases to 'breathe', in not gambling it all on a couple of special effects. The Villarini songs are also kind to the singer in terms of intervals and leaps.

Dos Caonciones de Amor: Es un Lamento; Para mi Corazon

Duration: 8'
Instrumentation: Pn, Mez, or
sop, pn Es un Lamento - Poem by Julia de Burgos; Para mi Corazon - Poem by Pablo Naruda. Performed by Isabelle Ganz. Reviewed by D. Thompson, San Juan Star music critic, "I was specially impressed by two songs by Awilda Villarini. Here, I believe the composer's experience resulted in not hurrying the text, in taking time for the phrases to 'breathe', in not gambling it all on a couple of special effects. The Villarini songs are also kind to the singer in terms of intervals and leaps. Also for this reason, I think that they are completely successful: the lesson may be that if you make life difficult for your singer, your songs might not come off so well."

La Leyenda del Indio

Duration: 15'
Instrumentation: Pic, 2 Fl, 2 Ob, EHn, 2 Bb Cl, Bs Cl, CBn, 4
hn, 4 tpt, 2 tbn, b tbn, tu, perc, hp, strs. Performed by the Puerto Rico Symphony under Theo Alcantara. Review excerpt from El Nuevo Dia, September 16, 1992. "The Legend of the Indian proved that Villarini has imagination, knows how to create musical ambiance, can capture the listener's fantasy, handles well the orchestra texture with interesting dynamic contrasts and balance betweeen the different sections of the orchestra. Villarini showed great predilection for the use of percussion instruments and the use of a new instrument for the performance. It was perfect for the effect that she was looking for in this composition that captures in the music the problem of the Indian in America."

Portraits of Greenwich Village

Duration: 5'
Instrumentation: Vc
Five short pieces for violoncello. Creates different effects by the use of varied sonorities and techniques.

Seduction and Tango

Duration: 5'
Instrumentation: Pno,Sax~or~Pno,Harmonica
Arrangement of Seduction and Tango for Harmonica and Piano performed in different museums in New York City.

Sonata for Flute and Piano

Duration: 11'
Instrumentation: Fl,Pno
Statement about composition: Sonata for Flute and Piano in three movements: Allegro, Adagio, Allegro. It has been performed at the Hochschule fur Musik in Vienna, CAMI Hall and Greenwich House of Music in New York City.

Sonata for Piano

Duration: 18'
Instrumentation: Pn
Sonata for Piano in three movements: Allegro, Adagio, Allegro. It has been performed at the Renee Weiler Concert Hall in New York City and at the University of Puerto Rico, San Juan, Puerto Rico. The last movement uses Indian rhythms from South America and quotes on melody from the Incas.

String Quartet

Duration: 5'
Instrumentation: 2 Vln,Vla,Vc
Reading at N.Y.U. by the Brentano String Quartet.

Suite for Four Trombones

Duration: 5'
Instrumentation: 3 Tbn,B~Tbn
Suite in four movements: Preamble, Danza, Fanfare, "Salsa".

Suite Portoricinses

Duration: 12'
Instrumentation: Pn
Reviews: Washington Post, "She showed herself to be a highly resourceful composer who handles with ease the high voltage rhythms of her native Puerto Rico. Villarini's composition is a stylish, sophisticated work literary bursting with vitality. Quite a pianist, quite a composer." Neue Zurcher Zeitung, "Simple themes were repeated with rhythmic variations, resulting in charming effects."

Three Preludes for Piano

Duration: 8'
Instrumentation: Pn, Sop
Explored different sonorities and emotional states. Created a sense of musical drama through the use of sudden dynamic contrasts and the harmonic use of clusters.

Visiones

Duration: 7'
Instrumentation: Fl,Ob,Eng~Hn,Cl,Bass~Cl,Hn,Alto~Fl
Suite in seven movements. Performed at the American Composers Orchesta Festival Sonidos de las Americas: Puerto Rico at Weill Recital Hall, March 1997.

Voices of Women

Duration: 16'
Instrumentation: Pn, Sop
Six songs for voice and piano. Used poems from women poets from different countries. Performed at different halls in New York City. The poems, authors, country, and duration: 1. The Parakeet Trail, Lillian Morrison, U.S.A., 50"; 2. Song, Daisy Aldan, U.S.A., 2'; 3. Converging Spheres, Patricia J. Barnett, U.S.A., 3'10"; 4. Dialogue, Pat Parker, U.S.A., 5'; 5. Mientras Tu, Bessy Reyna, Panama, 4'; 6. Sin Remedio, Gloria Burgos, Puerto Rico, 2'10".

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