Havaneres, volums IV, V i VI

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	"description" => "The Habanera: from popular song to classical music  	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.  	Leonora Mil&agrave;  	Pianist and composer",
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$description	=	"The Habanera: from popular song to classical music  	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.  	Leonora Mil&agrave;  	Pianist and composer"
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	The Habanera: from popular song to classical music<br />
	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.<br />
	Leonora Mil&agrave;<br />
	Pianist and composer</div>
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View::renderLayout() - CORE/cake/libs/view/view.php, line 453
View::render() - CORE/cake/libs/view/view.php, line 387
Controller::render() - CORE/cake/libs/controller/controller.php, line 805
Dispatcher::_invoke() - CORE/cake/dispatcher.php, line 229
Dispatcher::dispatch() - CORE/cake/dispatcher.php, line 193
[main] - APP/webroot/index.php, line 88

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	"description" => "The Habanera: from popular song to classical music  	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.  	Leonora Mil&agrave;  	Pianist and composer",
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	Located in the very heart of the old town of Barcelona, DINSIC Publicacions Musicals, SL was found in 1988 by Francesca Galofr&eacute; Mora as a response to her great pedagogical vocation and with the aim of disseminating knowledge and musical production.<br />
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	Today, with more than twenty years of constant work, the publishing company devotes itself to promoting the publication of several books and materials destined to musical education in all its fields: music schools and conservatories, school in all its levels and university.<br />
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$description	=	"The Habanera: from popular song to classical music  	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.  	Leonora Mil&agrave;  	Pianist and composer"
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	The Habanera: from popular song to classical music<br />
	The habaneras for piano I wrote at the beginning of the nineties are a felt and volitional&nbsp;homage to my hometown, Vilanova i la Geltr&uacute;. Popularly known as the &ldquo;Havana Xica&rdquo; [&ldquo;Little&nbsp;Havana&rdquo;], Vilanova was a place of &ldquo;indianos&rdquo;, families that came back from Cuba after having&nbsp;become rich and who invested their wealth in building hospitals, schools and railway connections&nbsp;to Barcelona. Everything in Vilanova oozes West Indian flair: the architecture, the&nbsp;carnival shawl dances, which were directly imported from the lounges of the Havana seigniorial&nbsp;houses, entities like the Foment and a particular way of understanding life: a mixture&nbsp;of irony, kindheartedness and nostalgia of a lost paradise. The music, and especially the&nbsp;habaneras, came with the troops which, as Xavier Garcia wrote, &ldquo;at their return in 1898,&nbsp;defeated and cornered, not only brought misery and failure, but also a piece of Cuban soul,&nbsp;which was reflected in their song, to which that people had given life to as a very intimate&nbsp;expression of their cultural singularity&rdquo;. Almost one century later, I wanted to pay a homage&nbsp;to this Vilanova of Cuban influences, to the &ldquo;indianos&rdquo;, the soldiers that &ldquo;defeated, brought&nbsp;home a piece of Cuban soul&rdquo; and as well to my father, Josep Mil&agrave;, who had the opportunity&nbsp;to get to know this social and musical reality on his trips to Cuba, during his youth as a&nbsp;musician on board of ocean liners, before becoming a cellist of the Pau Casals Orchestra and,&nbsp;subsequently, of the Gran Teatre del Liceu.<br />
	Leonora Mil&agrave;<br />
	Pianist and composer</div>
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View::_render() - CORE/cake/libs/view/view.php, line 665
View::renderLayout() - CORE/cake/libs/view/view.php, line 453
View::render() - CORE/cake/libs/view/view.php, line 387
Controller::render() - CORE/cake/libs/controller/controller.php, line 805
Dispatcher::_invoke() - CORE/cake/dispatcher.php, line 229
Dispatcher::dispatch() - CORE/cake/dispatcher.php, line 193
[main] - APP/webroot/index.php, line 88