Uruguay - 2013 - Prominent personalities of Uruguay, Nibya Mariño
Options:
SERIE --- 1,40 EUR
SERIE [1X2] with LABEL --- 3,20 EUR
SERIE [2X2] with LABEL --- 5,60 EUR
BLOCK --- 10,00 EUR
FDC not Sent --- 2,80 EUR
FDC Sent on First Day --- 9,00 EUR
COVER Sent on First Day --- 6,00 EUR
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Issue information:
Country:
Uruguay
Date:
March 22nd, 2013
Printed:
15.000 copies
Stamp Shape and Size:
Rectangular [39 mm. x 27 mm.]
Perforation:
Circular
Gum:
Water Activated
Block Configuration:
8 stamps [3 x 3] and one Label at position 2,2
[ [STAMP, STAMP, STAMP]
[STAMP, LABEL, STAMP]
[STAMP, STAMP, STAMP] ]
Block Shape and Size:
Rectangular [150 mm. x 133 mm.]
FDC Type:
Special for this issue
FDC Shape and Size:
Rectangular [169 mm. x 89 mm.]
Cover Shape and Size:
Rectangular [241 mm. x 159 mm.]
Catalogue information:
Michel:
No Data Available
Ivert:
No Data Available
Scott:
No Data Available
Stanley & Gibbons:
No Data Available
Topics:
Issue:
This stamp is a new release of an annually that is being issued since last year about prominent personalities of Uruguay. This year, the honour of being chosen for this serie, it is for Nibya Mariño, a contemporary classical pianist from Uruguay.
The stamp, which was released just one day before the 94th birthday of Nibya, shows a picture of her, deeply concentrated and with fierce attitude, with his hands over a black grand piano, in one of his recent concertos.
The design is completed with the logo of the serie with the legend "Personalidades destacadas del Uruguay", that in english means "Prominent personalities of Uruguay", crossed with a white and sky-blue national ribbon, and bellow of this legend, the name of the pianist honoured.
This release repeats the block configuration introduced in the eight issue of this year about soccer team "Defensor", and adds an unique label in the center position of the block, making it a valuable collector item, as it exist only one for each eight stamps that composes the block. Both Label and block design will be described later, each one in their respective sections.
In relation to the annually serie, this second release shows that there is from a wide domain that the personalities are selected, as the other personality selected was from a completely different activity, as it was Enrique Iglesias, an also contemporanean, however an economist man, that received global recognition after being elected president of the Inter-American Development Bank in 1988.
Finally, another topics that could be considered to be present in this stamp are: women, music, musical instruments, wood, and gray hair.
Nybia Marino Bellini was born on March 23th of 1919 in Montevideo, and is a worldwide known Uruguayan classical pianist.
He began his musical training being very small with Master William Kolischer. He debuted at the age of six years, and only a few years later, still being a little girl, she gives a concert at the theater "Colón" in Buenos Aires, playing the Concerto in LA minor Op 54 by Robert Schumann, under the direction of Ernest Ansermet.
He traveled to Paris to improve her technique, where she took part in several competitions, standing out his performance in Brussels, in the Isaye contest, where she was the best and get very good returns. From there, Mariño began a series of concerts throughout Europe, Latin America and the United States.
He continued her studies in the United States with Claudio Arrau, considered the greatest pianist in the world. In this country recorded three CDs, two works by Schumann and the other with the Concerto for Two Pianos of Poulenc with the also Uruguayan Enrique Graf and an orchestra, under the direction of David Stohl.
She had played in the most important theaters of the world, both in the U.S. and Europe. He formed a remembered duo with Hugo Balzo. In 1994 she received an award from the Organization of American States (OAS) for her contribution to the artistic community of the Americas.
In late March 2009 he was honored for his 90 years of life. The concert, organized by SODRE Symphony Orchestra under the direction of maestro Piero Gamba, included the Piano Concerto No. 4 Op 58 by Ludwig van Beethoven.
She is married to Walter Pintos Surmani (son of well known uruguayan architect Walter Pintos Risso), and is the mother of Sergio Pintos Marino.
The piano is a musical instrument played by means of a keyboard. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also popular as a tool for composing and rehearsal. Although not portable and often expensive, the piano's versatility and ubiquity have made it one of the world's most familiar musical instruments.
Pressing a key on the piano's keyboard causes a padded (often with felt) hammer to strike steel strings. The hammers rebound, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a sounding board that more efficiently couples the acoustic energy to the air. The sound would otherwise be no louder than that directly produced by the strings. When the key is released, a damper stops the string's vibration and the sound. See the article on Piano key frequencies for a picture of the piano keyboard and the location of middle-C. In the Hornbostel-Sachs system of instrument classification, pianos are considered chordophones.
The word piano is a shortened form of pianoforte (PF), the Italian word for the instrument (which in turn derives from the previous terms gravicembalo col piano e forte and fortepiano). The Italian musical terms piano and forte indicate "soft" and "strong" respectively, in this context referring to the variations in sound volume the instrument produces in response to a pianist's touch on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced.
The piano was founded on earlier technological innovations. The first string instruments with struck strings were the hammered dulcimers.[3] During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings. By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well known. In a clavichord the strings are struck by tangents, while in a harpsichord they are plucked by quills. Centuries of work on the mechanism of the harpsichord in particular had shown the most effective ways to construct the case, soundboard, bridge, and keyboard for a mechanism intended to hammer strings.
The invention of the modern piano is credited to Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany, as the Keeper of the Instruments. He was an expert harpsichord maker, and was well acquainted with the body of knowledge on stringed keyboard instruments. It is not known exactly when Cristofori first built a piano. An inventory made by his employers, the Medici family, indicates the existence of a piano by the year 1700; another document of doubtful authenticity indicates a date of 1698. The three Cristofori pianos that survive today date from the 1720s.
While the clavichord allowed expressive control of volume and sustain, it was too quiet for large performances. The harpsichord produced a sufficiently loud sound, but had little expressive control over each note. The piano was likely formed as an attempt to combine loudness with control, avoiding the trade-offs of available instruments.
Cristofori's great success was solving, with no prior example, the fundamental mechanical problem of piano design: the hammer must strike the string, but not remain in contact with it (as a tangent remains in contact with a clavichord string) because this would dampen the sound. Moreover, the hammer must return to its rest position without bouncing violently, and it must be possible to repeat a note rapidly. Cristofori's piano action was a model for the many different approaches to piano actions that followed. Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano—but compared to the clavichord (the only previous keyboard instrument capable of dynamic nuance via the keyboard) they were much louder and had more sustain.
Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it in 1711, including a diagram of the mechanism. This article was widely distributed, and most of the next generation of piano builders started their work due to reading it. One of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern damper pedal, which lifts all the dampers from the strings simultaneously.
Piano-making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Streicher (daughter of Stein) and Anton Walter. Viennese-style pianos were built with wood frames, two strings per note, and had leather-covered hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were black and the accidental keys white. It was for such instruments that Wolfgang Amadeus Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, more ethereal tone than today's pianos or English pianos, with less sustaining power. The term fortepiano is now used to distinguish the 18th-century instrument from later pianos.
In the period lasting from about 1790 to 1860, the Mozart-era piano underwent tremendous changes that led to the modern form of the instrument. This revolution was in response to a preference by composers and pianists for a more powerful, sustained piano sound, and made possible by the ongoing Industrial Revolution with resources such as high-quality piano wire for strings, and precision casting for the production of iron frames. Over time, the tonal range of the piano was also increased from the five octaves of Mozart's day to the 7⅓ or more octaves found on modern pianos.
Label:
The label design is divided in two frames. The right one shows a beautiful picture with a close-up of Nibya Marino in her youth, with it sight pointing a bit upwards, and her hands together below her chin. Then, left one also present a picture, however this time of a poster that promotes an early concert of this pianist.
The concert was held, as it is said in the poster, on a Saturday June 24th, of a year that we do not know, in the auditoriom of the "Orquesta Sinfónica del Servicio Oficial de Difusión Radio Eléctrica (OSSODDRE), that is the national symphonic orchestra of Uruguay. The concert, as also expressed in the poster, has two functions, one at 18:00 and the other at 21:00, and was directed by Lamberto Baldi, one of the most known directors of the OSSSODRE.
The poster besides the information about the concert, shows another nice picture of Nibya, wearing a dress, and looking very young, surely younger even than in the right picture.
Finally, also from the poster, it could be seen that the coat of arms is included in it, so this label could be useful, for very deep searchers collectors of topics coat of arms, and also for collectors of animals, specially horses and cows, measurement instruments, specially scales, and Lighthouses, as a horse, a cow, a scale, and the Hill of Montevideo with his lighthouse are included in the Coat of Arms of Uruguay
The "Servicio Oficial de Difusión, Radiotelevisión y Espectáculos (SODRE)", that in english means "Official Service of Broadcasting, Radio, Television, and Shows", is an institute under the Ministry of Education and Culture of Uruguay, for the dissemination and generation of information, art and culture in general. It was created by Law No. 8,557 on December 19th of 1929.
Created as "Servicio Oficial de Difusión Radio Eléctrica", that could be translated in english to "Official Service of Radio Electric Broadcasting", its initial function was to broadcast cultural and information programs, that is transmit shows or performances of an artistic, scientific, illustrative or entertaining purposes for the spiritual improvement of the country's inhabitants. The law also mandated creation, among other things, of schools and conservatories, and to acquire and lease phonographic material, theatrical, cinematic, or printed music that relates to their activities, also to edit catalogs, programs or other publications, among other things. By the same law established a symphony orchestra, a chamber, a choir, a ballet, theaters, an audio library and other departments.
The SODRE now has four stable divisions: Symphony Orchestra, Chamber Music, Choir, and Corps de Ballet, and it also had the "Escuela Nacional de Danza", in english "National Dance School", also three medium wave radio stations, two in shortwave and five in modulated frequency. Besides it has a Museum of the Word, that treasures intellectuals recordings of speechs done by personalities from art, culture, society, politics, and a National Archive Image that, in addition to preserving a valuable historical heritage , it also produces and exhibits films and videos.
The "Orquestra Sinfónica del SODRE (OSSODRE)", the SODRE Symphony Orchestra, began operations on June 20th of 1931, directed by Vicente Pablo. With 103 musicians, began the path of longest-lived body in Uruguay in the official plan. In the history of the orchestra it is remarkable the contribution of Erich Kleiber. During World War II, Uruguay get benefited from the arrival of teachers who settled in America.
Then, directed by Kleiber, Albert Wolf and Fritz Busch, OSSODRE received the distinguished visitors as Jascha Horeinstein, Paul Paray, Clement Krauss, Hermann Scherchen, Victor de Sabata, Malcolm Sargent, Arthur Rodzinsky, Nikolai Malko, Paul Klechi, Witold Rowicki, Leopold Ludwig, Wilhelm Van Otterloo, Kiril Kondrashin, Jean Martinon, Enrique Jorda, Antal Dorati and Howard Mitchell, among others.
After that there came a crisis with the removal of most of the musicians and was called Lamberto Baldi to reorganize the orchestra. Following an international call, the OSSODRE reached its highest level, however, with the departure of Baldi, programs began to lose interest, and the Studio Theater fire in 1971 was a blow to the orchestra. Thereafter, he had no fixed place, so it has to rehearse and act in Teatro Solis and other rooms. This led to impairments in the technical and the beginning of a period of ups and downs.
The stable direction of Juan José Castro enriched the repertoire of the twentieth century, with fundamental contributions of De Falla, Hindemith, Stravinsky, Dmitri Shostakovich, Bela Bartok. From 1985 came back world renowned directors such as Simon Blech, Jorghe Rotter, Shunji Aretani, and new names like the Mexican Eduardo Diazmuñoz, Nicolas Rauss, Nicolas Pasquet or Brazilian David Machado.
At a later stage, was appointed artistic director Roberto Montenegro, who was inclined to more sober and traditional repertoire than its predecessor. Then headed Piero Gamba and stable David Machado as director from 1966. His unexpected death left a void that Piero Gamba was able to fill in the emergency.
Lamberto Baldi was born on 1895 in Orvieto, Italy, and passed away on 1979 in Montevideo, he was an Italian conductor and composer.
Baldi received his musical training in Orvieto, and then studied with Ildebrando Pizzetti in Florence. After working in various European countries, in 1926, he emigrated to South America. Until 1931 he was Director of the "Sociedad de Conciertos Sinfónicos" of San Pablo, and then he worked until 1942 (and again in 1951-1953) as director of the OSSODRE.
Then he conducted at the Colón Theater in Buenos Aires, Argentina, and wwas director of the Municipal Symphony Orchestra of that city from 1947 to 1949. Finally, from 1962 to 1963 he organized the Chamber Orchestra of the Gulbenkian Foundation in Lisbon Caloustre.
Baldi led mainly on the works of contemporary composers such as Claude Debussy, Paul Hindemith, Arthur Honegger, Igor Stravinsky, Eduardo Fabini and Héctor Tosar. He also orchestrated the opera Euridice by Jacopo Peri, who had worldwide success after its premiere on 1949 in Montevideo.
Block:
The block design is nice and reinforces the content of stamps and label. The major highlight of it is the inclusion of another picture, surely from the same concert as the one of the stamp photograph, in which Nibya's hands receive the main attention, as they are placed above the stamps and between the two legends of the block, that repeats the ones of the stamp, that are "Prominent personalities of Uruguay, and the name of the pianist.
The picture mentioned it is blurred and faded as one goes from up to down, and the design is completed with a set of four stylized icons of grand pianos to show the inks used to print the block.
FDC:
The cancelation is quite simple, besides the legends present in both stamp and block, that express the name of this anual serie, and the name of the personality chosen this year, i also includes a section of the keyboard of a piano.
Then, about the cover of the FDC, it is a special one, specially built for this release. However, the design of the cover it is intentionally not fully original, as is it is follows the same pattern of the one made for the release of this serie of prominent personalities of Uruguay of past year. The only difference is that now "Sra. Nibya Mariño" replaces "Cr. Enrique V. Iglesias" of the previous cover, however maintaining the same stylized font.
If you consider that there are another topics in this stamp, that were not spot in this review, you are encouraged to telling me about them, so please do not hesitate to post a comment. I would appreciate your help very much.
