123:, Lavalleja, with his parents Juan Fabini and Antonia Bianchi, of Italian origin and some distinguished musicians in their family. He spent his early childhood in intimate contact with nature. Fabini is considered the highest positive value of classical music in Uruguay; having started a musical orientation in classical music forms, tones and melodies of national folk music; managed as expressions of exquisite refinement, excellent inspiration, and great musical sensitivity.
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immediately widespread recognition of his musical values, being also enshrined Buenos Aires - where he was performed in 1925 at the Teatro Colón by the Vienna
Philharmonic - and soon in New York, Washington, Madrid, Barcelona, Berlin, Moscow, Valencia, Rio de Janeiro and other major music cities such as Vienna, where was performed by the Philharmonic in that city, under the baton of the great
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127:"The Lyre" (from 9 to 13 years) with teachers Romeo Massi and Italo Casellas, and later with Scarabelli and Ferroni. On the advice of the teacher Perez Badia, Fabini won a scholarship in 1899 at age 17 that allowed him to travel to Europe and enter the music conservatory in Brussels, where he studied with teachers deloc and Thomson, and harmony with the teacher Brouk.
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Encouraged by this success, Fabini continued intense activity in the composition of works that evoke the sounds and atmospheres of the
Uruguayan countryside; presenting soon after his other symphonic poem, entitled "The Island of ceibos". Among his works are numerous songs, school choirs, and fantasy
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It began in the composition, performing their "Tristes" for orchestra two "Intermediate" a "arpegiano Study" for piano, and choir "Flowers of the field"; while as a performer won First Prize for Violin with
Distinction, awarded by the Brussels Conservatory. Fabini was the first South American in that
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His musical knowledge began at an early age. At the age of four years, his favorite toy was the accordion. At six he admired his performances in the harmonium. At this time he began his musical studies of the violin with his older brother. He continued his studies in
Montevideo, at the Conservatory
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It is from time retiring to a life in the countryside, to reside in Solís and the Fuente Salus, avoiding public activity. During this period he composed "Campo", his first symphonic poem, which was first performed in public at the Teatro Albéniz in
Montevideo on April 29, 1922. "Field" obtained
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He returned to
Uruguay in 1903, becoming known as soloist in various presentations made at the Teatro Solís of Montevideo, which aroused admiration. After another trip to Europe, to Spain in 1905 where he remained two years, he returned to Montevideo in 1907. He participated with other national
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says that "Fabini never felt the procupación innovative; He never sought to highlight technical knowledge; says his music as well, because that way it feels, and how is not in your intentions hope for a vain glory, nor seeks more reward than the silence she loves, occupies a plane striking
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In 1927, he was appointed
Artistic Added at the Embassy of Uruguay in the US, can move to the city of New York where "Field" and "The Island of ceibos" were recorded in recordings made by the Philharmonic Orchestra, edited by Company Victor Records.
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for violin and orchestra; between one other piece of ballet on the subject of a work of Fernán Silva Valdés entitled "Mburucuyá" symphonic picture "Molga", and children's ballet "Mañana de Reyes".
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musicians in founding the
Musical Conservatory of Uruguay, (1907). In 1913, he co-founded the Association of Chamber Music, numerous concerts sponsored entity that acted as interpreter.
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Several schools bear his name: the departmental school in Minas (Instituto
Eduardo Fabini), the Lyceum Mataojo Solis (Cradle of Fabini) and No. 6 School Music in the city of Rivera.
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sincerity". Salas and
Pauletto added that "Fabini is essentially a nativist, simple and modest musician".
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Página del Consejo de Educación Inicial y Primaria - Escuelas de música
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34:, 18 May 1882 – 17 May 1950) was a Uruguayan composer and musician.
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tendency that emerged in Uruguayan music in the 1910s and 1920s.
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Samuel J.A. Salas; Pedro I. Pauletto; Pedro J.S. Salas (1938).
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Boletín Latino-Americano de Música. Año III, Tomo III, p. 113.
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Grabaciones Históricas de su obra Volumen 2 & 3
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154:Fabini died in May 1950 due to a heart condition.
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325:Eduardo Fabini y María Luisa Fabini de West
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468:International Music Score Library Project
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119:Born May 18, 1882 in the small town of
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89:adding citations to reliable sources
494:Uruguayan people of Italian descent
361:A Cultural History of Latin America
331:Las cinco grandes obras sinfónicas
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539:20th-century classical violinists
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432:R. Viñoly Barreto (marzo 1937).
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184:Poema sinfónico Campo
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217:Choir and orchestra
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489:1950 deaths
484:1882 births
319:Discography
303:Scarlattina
288:Dos tristes
51:nationalist
478:Categories
382:12 October
344:References
298:Intermezzo
282:Piano solo
313:Atlántida
250:, canción
233:El Rancho
199:Mburucuyá
57:Biography
417:Archived
399:Archived
266:Luz mala
248:La Güeya
238:A mi Rio
201:, ballet
470:(IMSLP)
466:at the
271:El Tala
254:El nido
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173:Works
161:Style
384:2011
371:ISBN
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