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El arte de Cúchares - E. Pastor Celda - Set of Clarinets

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El arte de Cúchares - E. Pastor Celda - Set of Clarinets https://www.youtube.com/watch?v=zXkfOzt9nQk

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El artE dE CúCharEs ( Enrique Pastor Celda ) ¿Por qué al toreo se le llama 'el arte de Cúchares'? Francisco Arjona 'Cúchares' fue un líder con visión transformadora del espectáculo taurino y gran capacidad lidiadora El matador de toros Francisco Arjona Cúchares (Madrid, 20 de mayo de 1818-La Habana, 4 de diciembre de 1868), ha sido uno de los maestros fundamentales de la tauromaquia. Su gran carisma y su apuesta por el espectáculo total le convirtieron en pieza clave de la transformación del toreo, entre otras cosas, alargando el trasteo de muleta que hasta su época consistía en la preparación del toro para la suerte suprema. Así, desde el siglo XIX, al igual que al rejoneo también se le denomina 'el arte de Marialba' por un noble portugués que fue decisivo para la evolución del arte ecuestre, al toreo a pie se le conoce también por 'el arte de Cúchares'. Su manera de concebir las suertes contrasta con la seriedad rondeña de quien fuera su maestro, Pedro Romero. Nació en Madrid y murió en La Habana cuando iba a torear.
                                Cl.1 Cl.2 Cl.3 Cl.4 Cl.5 Cl.6 Cl.7 Cl.B                 Paso-doble                                                                                                                     6                                  6                                                                                              ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares
                11                     11                       3 5           3 5                                                                                                                                            16                        16                               3 3              3 3                               3 3                 3            3                     3                                                                                                   2 El Arte de Cúchares
                21                            21                                                                                           3         3                               A                                                                                  26                         26                                                                         3         3                                                                                                                                             3 El Arte de Cúchares
                31                           31                              3         3                                                                                                                                                                                               36         3         3           36                                                                                                                                         3         3                                            3         3                                         A       cantabile cantabile   4 El Arte de Cúchares
                41                                  41                                                                                                                             3         3                                                                                                                   46                                            46                                                                                      3         3                                                                                                                                                             5 El Arte de Cúchares
                51                                     51                     cresc... cresc... cresc... cresc... cresc... cresc... cresc... cresc...                                                                                                                                                                                                                         rit.                                                                                               56                                     56                     B a tempo                                                                                                                                                5        5                                           6 El Arte de Cúchares
                61                           61                                5        5                                           rit.                                                                                                         a tempo                                                                       66                       66                                                                         5           5                                                                                                                1.                                                                                     rit.       7 El Arte de Cúchares
                                  71                                  71                      2.                                                                                                                                                                                                                           76                                    76                                                                                                                                                                                                                8 El Arte de Cúchares
                81                                       81                                                                                                                                                                                        C                                        3 3            3 3                                     86                3      3     86                                                                                                                                          3 3            3 3                                                          9 El Arte de Cúchares
                          91                  91                                                             3      3                                                                                         96       3       3           96                                                                            3        3                                                                                                               10 El Arte de Cúchares
                101                     101                          3      3                                                                                                                                                                       106      3      3           106                                                                                                           3      3                               11 El Arte de Cúchares
                111                 111                                                                                                                  3       3                                                                                                116         3         3              116                         cresc... cresc...         3         3                                         3      3                                                                                 12 El Arte de Cúchares
                  121                121               3      3                                                                                                                      D                     3 3               3 3        3         3        3        3                   126               3 3              3 3        3 126         3         3            3           3                           3                                                                                                                                                                                                   13 El Arte de Cúchares
                  131             3 3             3 3             3 3             3 3        3 131        3        3        3             3 3             3 3             3 3             3 3        3        3         3          3        3        3        3                      3                                                                                            rit.                 136              136                         3      3         3         3                                E a tempo                     3       3                                3    3       3       3                                14 El Arte de Cúchares
                141                 3       3          141                              3        3           3 3           3 3                                              3       3                                              3        3                                                                                        146      3      3         3         3          146                                                                             3       3                                              3       3                                  3      3         3 3         3 3                                15 El Arte de Cúchares
                151              3      3         151                                                                rit.                                                 3      3         3         3                                a tempo             3       3                                             156                   3       3          156                                             3         3                                      3       3          3          3                                                                                  3         3                                                 16 El Arte de Cúchares
                161         3         3                      161                            3      3                                                                                                                                         165                              165                                 3      3                                                                                                                             17 El Arte de Cúchares
         Paso-doble                                       8                                        3 5           15                            3 3            3                        22            3 A                             3    29                             3                        36         3                              3                      43       3                              3                 50                   cresc...                                rit.                 B a tempo   57                    5          5 rit.           64         a tempo                              5            1.           rit.    71         2.                                                  ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 1Bb
  78                                                            C                     87                                                      3       96       3                3                     3            105          3                    3          Paso-doble           114       3                 3 cresc...         3     3                   122      3      D                               130                       3 3             3 3        3       rit.             138      3 E a tempo        3             3                 146      3                   3          rit.        154      3 a tempo                       3                 3         3   162    3                            3           El Arte de Cúchares
         Paso-doble                                                                              3 5                                      3 3            3                                   3 A                             3                                3                                3                              3                            3                              3                                 cresc...                                rit.                 B a tempo                      5          5 rit.                   a tempo                               5            1.                rit.               2.                                                 ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 2Bb
                                                             C                                                                             3           3                3                      3                    3                       3                       3                 3 cresc...         3         3                     3      D                                                    3 3             3 3        3                rit.           3 E a tempo        3               3                    3                     3          rit.           3 a tempo                         3                 3         3        3                   3          2 El Arte de Cúchares
     Paso-doble                                                         A                                                        3        cantabile                                                                       cresc...                              rit.              B a tempo                              rit.           a tempo                            1.          rit.       2.                                                                                                              C             3 3      3        ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 3Bb
              3 3                                                                 D             3 3               3 3         3                                        3 3             3 3          3                  rit.          3 E a tempo        3       3         3           3 3       3      3          3          3       3         3 3      3  rit.  a tempo         3         3       3         3          3                                                    2 El Arte de Cúchares
     Paso-doble                                                                        A                                                         3        cantabile                                                                  cresc...                             rit.               B a tempo                              rit.           a tempo                           1.           rit.       2.                                                                                                            C             3 3      3                   3 3 ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 4Bb
                                                                   D               3 3              3 3             3                                        3 3             3 3        3                  rit.         3 E a tempo       3      3       3           3 3      3        3          3        3       3       3 3      3    rit.          3 a tempo       3       3         3          3                                                    El Arte de Cúchares
     Paso-doble                                                                                 A                                                                                                                                                                                                                                           cresc...                           rit.                B a tempo                                               rit.               a tempo                                       1.           rit.        2.                                                                     C                               ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 5Bb
                                                                                                                                                                                                                                         D         3        3                                 3        3                     rit.           E a tempo                                                                                                                              rit.          a tempo                                                                                                                        2 El Arte de Cúchares
     Paso-doble                  9                           18                                     A          26                                                                    34                                                                  42                                                                     50                 cresc...                             rit.                 B a tempo            58                                   rit.               a tempo            66                              1.            rit.         2.               74                             82                   C                             ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 6Bb
    90                                                     99                                                                   107                                                       115                                                       123         D          3         3                    131        3        3                     rit.           E a tempo    139                                                                        147                                                    rit.          a tempo            155                                                                162                                                2 El Arte de Cúchares
     Paso-doble                                                         3 3            3                                 A                                                                                                                                                                                                                                cresc...                           rit.                B a tempo                                               rit.               a tempo                                         1.           rit.        2.                                                                 C                         ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 7 Bb
                                                                                                                                                                                                                                         D         3         3                                  3         3    rit.              E a tempo                                                                                                                                      rit.          a tempo                                                                                                           2 El Arte de Cúchares
     Paso-doble                                                                                                                            A                                                                                                                                  cresc...                  rit.            B a tempo                                       rit.           a tempo                                   1.          rit.        2.                                                     C                                ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet Bass
                                                                                                                                            D         3              3                                 3               3              rit.       E a tempo                                                               rit.     a tempo                                                                           2 El Arte de Cúchares

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  • 1. El artE dE CúCharEs ( Enrique Pastor Celda ) ¿Por qué al toreo se le llama 'el arte de Cúchares'? Francisco Arjona 'Cúchares' fue un líder con visión transformadora del espectáculo taurino y gran capacidad lidiadora El matador de toros Francisco Arjona Cúchares (Madrid, 20 de mayo de 1818-La Habana, 4 de diciembre de 1868), ha sido uno de los maestros fundamentales de la tauromaquia. Su gran carisma y su apuesta por el espectáculo total le convirtieron en pieza clave de la transformación del toreo, entre otras cosas, alargando el trasteo de muleta que hasta su época consistía en la preparación del toro para la suerte suprema. Así, desde el siglo XIX, al igual que al rejoneo también se le denomina 'el arte de Marialba' por un noble portugués que fue decisivo para la evolución del arte ecuestre, al toreo a pie se le conoce también por 'el arte de Cúchares'. Su manera de concebir las suertes contrasta con la seriedad rondeña de quien fuera su maestro, Pedro Romero. Nació en Madrid y murió en La Habana cuando iba a torear.
  • 2.                                 Cl.1 Cl.2 Cl.3 Cl.4 Cl.5 Cl.6 Cl.7 Cl.B                 Paso-doble                                                                                                                     6                                  6                                                                                              ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares
  • 3.                 11                     11                       3 5           3 5                                                                                                                                            16                        16                               3 3              3 3                               3 3                 3            3                     3                                                                                                   2 El Arte de Cúchares
  • 4.                 21                            21                                                                                           3         3                               A                                                                                  26                         26                                                                         3         3                                                                                                                                             3 El Arte de Cúchares
  • 5.                 31                           31                              3         3                                                                                                                                                                                               36         3         3           36                                                                                                                                         3         3                                            3         3                                         A       cantabile cantabile   4 El Arte de Cúchares
  • 6.                 41                                  41                                                                                                                             3         3                                                                                                                   46                                            46                                                                                      3         3                                                                                                                                                             5 El Arte de Cúchares
  • 7.                 51                                     51                     cresc... cresc... cresc... cresc... cresc... cresc... cresc... cresc...                                                                                                                                                                                                                         rit.                                                                                               56                                     56                     B a tempo                                                                                                                                                5        5                                           6 El Arte de Cúchares
  • 8.                 61                           61                                5        5                                           rit.                                                                                                         a tempo                                                                       66                       66                                                                         5           5                                                                                                                1.                                                                                     rit.       7 El Arte de Cúchares
  • 9.                                   71                                  71                      2.                                                                                                                                                                                                                           76                                    76                                                                                                                                                                                                                8 El Arte de Cúchares
  • 10.                 81                                       81                                                                                                                                                                                        C                                        3 3            3 3                                     86                3      3     86                                                                                                                                          3 3            3 3                                                          9 El Arte de Cúchares
  • 11.                           91                  91                                                             3      3                                                                                         96       3       3           96                                                                            3        3                                                                                                               10 El Arte de Cúchares
  • 12.                 101                     101                          3      3                                                                                                                                                                       106      3      3           106                                                                                                           3      3                               11 El Arte de Cúchares
  • 13.                 111                 111                                                                                                                  3       3                                                                                                116         3         3              116                         cresc... cresc...         3         3                                         3      3                                                                                 12 El Arte de Cúchares
  • 14.                   121                121               3      3                                                                                                                      D                     3 3               3 3        3         3        3        3                   126               3 3              3 3        3 126         3         3            3           3                           3                                                                                                                                                                                                   13 El Arte de Cúchares
  • 15.                   131             3 3             3 3             3 3             3 3        3 131        3        3        3             3 3             3 3             3 3             3 3        3        3         3          3        3        3        3                      3                                                                                            rit.                 136              136                         3      3         3         3                                E a tempo                     3       3                                3    3       3       3                                14 El Arte de Cúchares
  • 16.                 141                 3       3          141                              3        3           3 3           3 3                                              3       3                                              3        3                                                                                        146      3      3         3         3          146                                                                             3       3                                              3       3                                  3      3         3 3         3 3                                15 El Arte de Cúchares
  • 17.                 151              3      3         151                                                                rit.                                                 3      3         3         3                                a tempo             3       3                                             156                   3       3          156                                             3         3                                      3       3          3          3                                                                                  3         3                                                 16 El Arte de Cúchares
  • 18.                 161         3         3                      161                            3      3                                                                                                                                         165                              165                                 3      3                                                                                                                             17 El Arte de Cúchares
  • 19.          Paso-doble                                       8                                        3 5           15                            3 3            3                        22            3 A                             3    29                             3                        36         3                              3                      43       3                              3                 50                   cresc...                                rit.                 B a tempo   57                    5          5 rit.           64         a tempo                              5            1.           rit.    71         2.                                                  ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 1Bb
  • 20.   78                                                            C                     87                                                      3       96       3                3                     3            105          3                    3          Paso-doble           114       3                 3 cresc...         3     3                   122      3      D                               130                       3 3             3 3        3       rit.             138      3 E a tempo        3             3                 146      3                   3          rit.        154      3 a tempo                       3                 3         3   162    3                            3           El Arte de Cúchares
  • 21.          Paso-doble                                                                              3 5                                      3 3            3                                   3 A                             3                                3                                3                              3                            3                              3                                 cresc...                                rit.                 B a tempo                      5          5 rit.                   a tempo                               5            1.                rit.               2.                                                 ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 2Bb
  • 22.                                                              C                                                                             3           3                3                      3                    3                       3                       3                 3 cresc...         3         3                     3      D                                                    3 3             3 3        3                rit.           3 E a tempo        3               3                    3                     3          rit.           3 a tempo                         3                 3         3        3                   3          2 El Arte de Cúchares
  • 23.      Paso-doble                                                         A                                                        3        cantabile                                                                       cresc...                              rit.              B a tempo                              rit.           a tempo                            1.          rit.       2.                                                                                                              C             3 3      3        ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 3Bb
  • 24.               3 3                                                                 D             3 3               3 3         3                                        3 3             3 3          3                  rit.          3 E a tempo        3       3         3           3 3       3      3          3          3       3         3 3      3  rit.  a tempo         3         3       3         3          3                                                    2 El Arte de Cúchares
  • 25.      Paso-doble                                                                        A                                                         3        cantabile                                                                  cresc...                             rit.               B a tempo                              rit.           a tempo                           1.           rit.       2.                                                                                                            C             3 3      3                   3 3 ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 4Bb
  • 26.                                                                    D               3 3              3 3             3                                        3 3             3 3        3                  rit.         3 E a tempo       3      3       3           3 3      3        3          3        3       3       3 3      3    rit.          3 a tempo       3       3         3          3                                                    El Arte de Cúchares
  • 27.      Paso-doble                                                                                 A                                                                                                                                                                                                                                           cresc...                           rit.                B a tempo                                               rit.               a tempo                                       1.           rit.        2.                                                                     C                               ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 5Bb
  • 28.                                                                                                                                                                                                                                          D         3        3                                 3        3                     rit.           E a tempo                                                                                                                              rit.          a tempo                                                                                                                        2 El Arte de Cúchares
  • 29.      Paso-doble                  9                           18                                     A          26                                                                    34                                                                  42                                                                     50                 cresc...                             rit.                 B a tempo            58                                   rit.               a tempo            66                              1.            rit.         2.               74                             82                   C                             ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 6Bb
  • 30.     90                                                     99                                                                   107                                                       115                                                       123         D          3         3                    131        3        3                     rit.           E a tempo    139                                                                        147                                                    rit.          a tempo            155                                                                162                                                2 El Arte de Cúchares
  • 31.      Paso-doble                                                         3 3            3                                 A                                                                                                                                                                                                                                cresc...                           rit.                B a tempo                                               rit.               a tempo                                         1.           rit.        2.                                                                 C                         ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet 7 Bb
  • 32.                                                                                                                                                                                                                                          D         3         3                                  3         3    rit.              E a tempo                                                                                                                                      rit.          a tempo                                                                                                           2 El Arte de Cúchares
  • 33.      Paso-doble                                                                                                                            A                                                                                                                                  cresc...                  rit.            B a tempo                                       rit.           a tempo                                   1.          rit.        2.                                                     C                                ©Gino Gonçals (Cover of Clarinets, Aragón, S.XXI) Enrique Pastor Celda Arr. by Gino Gonçals El Arte de Cúchares Clarinet Bass
  • 34.                                                                                                                                             D         3              3                                 3               3              rit.       E a tempo                                                               rit.     a tempo                                                                           2 El Arte de Cúchares