SINFONÍA LATINA – ENGLISH
Genre: Contemporary Classical Caribbean
‘Intrepid and envisioned’. Jazz, Rock
Occupation: Pianist, Conductor, Composer
Instruments: Piano, Violin
Active: 1990- present
Labels: e-one entertainment, scruffy, dieppa
Association: Sinfonia Latina.com
IV. Towards Composition: Synesthetic Maturity
V. Caribe Classico Genre: Nuevo Caribe,’ Nouveau Caribe’,
‘Uj Caribe’,Neue Caribe Works
Roberto McCausland-Dieppa, better known as ‘ Dieppa’, is a Colombian born, American (USA) Pianist, Conductor, and Composer. Having lived as a late teenager and adult mostly in the United States, always in contact with European and Caribbean/Latin musical, literary and artistic culture, Dieppa developed as a synesthetic musical artist- rhythm and dance are evident throughout his work.
Dieppa at a very young age (15) fused rock, Caribbean and jazz idioms into classical architecture, creating a new genre. Through Sinfonia Latina (composed Sept. 1975-April 1976) a work for Caribbean orchestra, inspired by Spanish/Afro-Caribbean Mediterranean idioms and Mediterranean poetry about (Thales of Miletus) Dieppa, effectively combined sounds, instruments, idioms and cultures never done before, nor thought possible. The concert, promoted by Mauricio Zapata’s -Midnight Sun Productions, occurred at Barranquilla’s Municipal theatre with a full-house attendance yet most of the public remained outdoors. The theatre designed for Zarzuela, at the time still under construction, would only seat close to 1200 spectators- thousands showed up, estimated by the local police, which had no available man power to ensure safety. There was not an incident to report other than a curious and happy audience. Through the many seams, under construction walls, windows, the theatrical upstage wings and trappings area, the majority of the public watched and heard the show. A hugely enthusiastic crowd made ticket sales almost impossible to fully collect and socially, the first time, the entire Colombian Caribbean upper, middle and lower social socio-economic strata were collectively in one evening event, under one roof for the sole purpose of listening to inclusive culturally pertinent exclusive music in Barranquilla, Colombia. As the rambunctious event, yet peaceful, nonviolent, progressed- new and old, conservative and liberal, progressives and traditionalists found that there was joy. A new sound and genre had been born, yet, it would take some time for the world to get to know it.
The program was repeated once in its entirety at the ‘Club Campestre’ , Dieppa left to further his studies and career and the band members went to further their own lives. The event produced national television play (RTI), an orchestral score, and a new social cultural pathway for the people of the area. The unusual combination of instruments, exotic danceable rhythm, and cultural contemporary pertinence yet classical, was a novelty and has now come of age. Dieppa’s virtuoso pianism, conservatory training as a composer and conductor have helped create a genre that is culturally inclusive and musically exclusive, attractive to a new great generation of open minded adventurous listeners.
I. Early Life:
(Barranquilla, Colombia 1970-1980)
Dieppa’s and ‘Sinfonía Latina early years were coddled under intense and exotic
Contemporary Caribbean-European ambience…..
Fortunately, and somewhat fortuitously, Dieppa was born into an artistic, literary and musical home. Piano, guitar, aunt’s violin, books, art commentaries on Caribbean, Latin American and Anglo-American literature permeated. Those years of growth were special. His mother who was a fanatic and had studied literature … very dedicated to her father Carlos Dieppa, a little less to her husband-Don Roberto, and of course definitely dedicated to her son- whom she hoped a banker or there a bouts – but definitely when he told them at the age of five that music would be it – everyone but the grandfather – deemed it impossible, they hoped it would never happen … ‘ever!’
And so that it may not happen, around his sixth year, Ms. Violy sent Dieppa to her father, (Don Carlos Dieppa) , so the, young boy learned working habits. Surely he learned …. Long hours in the factory with the grandfather and with his best and closest chieftains, discipline and treatment were impeccable … as it had been throughout life with the grand Dad – until the age of fourteen. In Barranquilla the best workers are the ones that listen to music.
During the years he worked with grandfather Dieppa, a Venezuelan expatriate , – the boy learned all the popular and autochthonous repertoire from the employees of the workshop and factory. However, upon arrival home every evening, the piano, the music, the library with its over two thousand entries, the best sound system imaginable, (behind a Steinway B – 1880’s) the favorite Beethoven sonatas, each and every one of the symphonies: from Beethoven, Tchaikovsky to Mahler and Wagner works sounded and were studied. But not more. Although Santana and Gershwin came to have a small place, the grandfather was privately a total classicist- even in the way he dined.
Then, at night, before his mother fetched him, even on Saturdays mornings, interesting people visited- Meira del Mar, is remembered, Biava family members, Cepeda Samudio, appearances and messages from Garcia Marques, Obregon, the painter, Menuhin and Stern were part of the repertoire of characters. In short, without knowing, there were important persons, delicate subjects, and young Dieppa was part of it.
Carlos Dieppa-Y.Menuhin one (single space)
Barranquilla visit, circa 1965
Most interestingly, personally, his taste in all the arts was traditional and classic, but Don Carlos did espouse some contemporaneity. And for ‘Dieppa’, a child in sights of becoming a young man some day, the responsibility of being and treated as equal with adults, not as a mere child, provided the necessary confidence for what was coming.
On the other side, in the other house, Don Roberto, Dieppa´s father, modernist in art design and music, jazz -, great jazz- was the sound diet. Although not very attentive to everyday life, art, music and everything that had to do with the best of life, was his ‘niche’. ‘One day, by mistake I think, he brought three LPs – Little Richard, Louis Armstrong, and the Beatles.’ At the time in Barranquilla, recorded music came several years later. Being, in Colombia, Barranquilla the most contemporary city with the rest of the world, when Dieppa heard rock and roll, the energy enchanted him- as the romance the Liszt’s sonata and this young child had at first hearing.
And very happily, in the midst of all the activities and follies through which parents make their sons and daughters endure- obviously with the best intentions and thinking that in some way they will be rewarded, (certainly an ad hoc result) in between travel and family social acts rather boring- Dieppa continued happily with the guidance and example of the affectionate grand father. Not only did they have music in common, he taught how drive a car at an early age (9 years), he gave all the necessary and possible indications that he thought were indispensable for a young man to be to at least know something about the good handling and treatment of the opposite gender, (the matter was not commonly discussed at home), saying on both occasions, ‘what is not learned at an early age is not learned well.’
The small work ‘overalls’ were growing and the grandfather’s turn for the long break we all will eventually take, then young Dieppa was left without companion and guide. Again, full-time in the family where there were too many people interested in everything but creative and artistic activities, this very young man set out on his way to where his instinct guided him.
In this milieu, in the midst of the pain of the loss of his good friend, grandpa Dieppa, he began to seek his own musical artistic expression synesthetically, subconsciously. From this experience, through the inescapable search, with the tools of good luck, the good energy of good friends, contemporary colleagues, and his new friend Maria Luisa Mazhari (y) – was born Sinfonia Latina – a new future musical genre.
Barranquilla and the Colombian Caribbean were ideal for creative adventures, rock bands were all accessible, orchestras and indigenous, Caribbean and popular groups still preserved their originality, the substance and ingenuity with which they began; Nothing was too far away, there was classical culture, and the ‘avante-guarde’ was fierce and enterprising in its turn. So much so that not only people like Mauricio Zapata, Norman Mejía, engendered creative energy but the literary framework of Cepeda Samudio and Garcia Marquez were in full swing. Visual artists like Obregon, Barrios, then Lockhardt and many others gave vitality to a city in search of its own expression. This group had staged what is called the ‘New Caribbean’, the awakening of the most recent permutation of creative multi-culture, giving a new social opening, creative flow, ushering a real latin symphony and the creation in music of Sinfonia Latina. (Contemporary rock bands: Concha y Coco · Colores del tiempo · Delirium tremens · Daccarett’s blues band · Mancini’s band, Gianfranco Gerosa and Dario Jaramillo rock & blues)
II. Sinfonia Latina: Intrepid beginning
Sinfonía Latina- Birth and Continuance
The music event that defines ‘Caribbean’
New style of working: Natural musical, poetic and social · Discipline rehearsals · being part of something bigger than the self ·- The performance plan of the work began during talks between McCausland Dieppa and Bruno Mancini. Dieppa had played with most of the contemporary rock bands in Barranquilla, and he wanted to open new musical horizons. Musicians were asked to join according to the needs, Mauricio Zapata became the producer after an introduction by Odin Arregosez (Juan Carlos Buggy) and Margarita Galindo of ‘El Heraldo’. Long and tedious rehearsals during balmy Caribbean afternoons – unfailing. All were focused for nine months there were no complaints. The spectacle took place in the municipal theater, a theatre designed for Zarzuela, during the last stages of construction. Most of the attendees were outside the main hall and balconies. No one foresaw the numbers of people who would attend. The stage and the building had not yet been completed, the public In general was able to witness the program- climbing and sitting over walls and through window gapes. There were listeners sitting back stage on the machinery, lighting walls and galleries, on the side and back walls of the main hall, the upper backstage wings and surroundings of the theatre. The expectancy of a perhaps fifteen hundred ended up with many thousands standing and waiting to enter- an impossibility.
Although in contemporary musical language and rhythmic dissonant, work commemorates the life of Carlos Dieppa Delgado, inspired by McCausland Dieppa. Carlos Dieppa had died recently and was his grandfather from which he learned mainly the works of Beethoven. The work also carries the youthfulness romanticism of the young Dieppa’s first relationship with Maria Luisa Mazhari(y) and his travels with her family. Additionally, modal mediterranean sounds were added to poetry of Thales of Miletus third movement): something unheard in contemporary popular music of the time.
Social Context (Teatro Amira de la Rosa)
Contemporary Barranquilla, Colombia, other than its legendary carnival did not espouse events for all social strata to attend and purchase tickets. The evening of may 7, 1976 for 30.00 cop ( 8-12 USD) any one from any economic level could purchase a ticket and enjoy the same program. The resultant was a new genre of music, a new public new possibilities and inspiration for the newer generations to come. Though the city had had many well known worldwide reputable musicians and artists, the unique blend of Caribbean International- perhaps global sounds, with a multicultural, multi -socio- economic strata audience under the same roof next to each other, was a first time.
The orchestra members
Band and members
Mancini’s Band/Mancini’s Orchestra Roberto McCausland Dieppa Director, Composer, Pianist · Strings/Guitars Bruno Mancini, Lead guitars · Percussion Gean Carlo Mancini, trap set, Drums · Bass, Christopher Williams · Gustavo Berdugo, Timbales Ñero Cartagena, Conga · Trumpets, Ricardo Rey · Víctor Rey · Horns · Alberto Barros · T-Bones · Leonardo Borrero·Paco Barro · Choir/ Background Vocals· Katie Vaneman ·Nancy White · Ken De Vou · Ray Watts · Dioby Borrero.
Executive Producer: Mauricio Zapata · Special Guest · Juan Manuel Reyes
Graphic Design · Juan Carlos Buggy & Nadie · Light · Efraín Perdomo · Mimos:
·Nadie & co · Make up Mario Valderrama·
The music and event that defines ‘Caribe´
Themes, movements ·instruments· architecture · sound ·
Names movements eight themes- riffs
I. Overture; Two Themes, Dramático y animado. The Dreams of Madame Mazhari and the unveiled Nibelungen [Mme. Mazhari mother first in effect girlfriend of McCausland Dieppa, Mdme. Read very late into the nights]
( Riff musical motif o, riff a.)> tbadded
II.Adagio; Intermittent Seas , similarities and differences between the Caribbean and the Mediterranean
(Riff musical motif o, riff b.)>tbadded
III. Scherzo, Lightning-Luminous Franco and the Flashing Spain-dedicated to the heroes of the Spanish civil war of the twenties of the twentieth century, specifically Uncle Tomas Vera, son of the Spanish mathematician F.Vera and family member -which poetry about Thales of Miletus and reasoning are celebrated – with Mediterranean Phrygian scales. Dieppa made special program to Don Tomas in commemoration of his anniversary in Bogota, Colombia 1990.
(Riff musical Musical o, riff c.) >tbadded
IV. Epílog: Rondo, Estrepitoso (Loud) – What a Pitty, Don Emiliano Zapata, dedicated to the Mexican hero and his impertinent way of hiding – Then the endless and ceaseless ending.
( Riff musical motif o, riff d.)>tbadded
A few months after Sinfonía Latina premiered, Dieppa left to further musical studies and career to the United States were he found friends, knowledge, kindness and a world of musical resources. The debate had been not his compositional gift, but whether classical music training was the correct choice.
Dieppa ardently and assiduously imbibed the classical repertoires musically and historically. Greco-Roman life, culture and great historical figures and their accomplishments became models. Liszt and the seemingly open style, the orchestra of Wagner and Mahler, art and philosophical thought all became part of a young man discovering the world for the purpose of creating/composing great memorable music for a great generation audience.
Sinfonía Latina has been the guiding light since Its inception…
great youthfulness and boundless energy… pure inspiration
Exuberant freedom, emotion and Caribbean openness
1981-1985 Chamber music pianist,
An apprentice classical composer and conductor
Impassioned by the life of Franz Liszt’s the pianism and compositional techniques, Wagner’s and mostly Mahler’s orchestra, Dieppa dedication to musical and classical studies was impassioned. Both occupied nearly all of his time, the thought of being ready to continue to expand Classical-Caribe genre was present, yet too soon for the public. A short and tender relationship with Cassandra van Nus, a fellow student classmate, gave the impetus into becoming involved in performances via piano chamber music repertoire. Auditive, technical and compositional understanding skills required to ensure success are conspicuously demanding. Duos, Trios, Quartets are disciplined real time work at its best. Dieppa, then, started a relationship with Deborah Newcomb, a fine orchestral and chamber cellist that lasted over 15 years. Performing Chamber music and learning the ways of string playing were part of daily life. (High Museum of Art-Video Recording Pampeanas de A.Ginastera, Nocturne- E.Gerschefski c.1983-85)
Dieppa’s training is an aristocratic world class roster of classical musicians. Pianist Faye Rowell (Kessler) and master pianist composer Edwin Gershefski– (protégé of Tobias Matthay and Arthur Schnabel). Stan Pethel, an multi-faceted composer: orchestral arranging, composing and conducting- a fine trombonist and pianist in his own right . Ross Magoulas- a great vocal and opera instructor is just the beginning. Dieppa had his first oficial piano lesson just past his seventeenth year of age. He was well trained in solfege with perfect pitch by M.Pantoja.
Young Dieppa’s association with the Atlanta critic and pianist John Schneider, the excitement of the Chamber players and the Atlanta Symphony’s openness- at the time they were developing into a major orchestra, created a unique atmosphere for learning. Vladimir Ashkenasy, Eduardo Mata, Louis Lane, Robert Shaw, Leonardo Pennario, Sam Adler, John Naskewitz (under whose direction Ms. Newcomb often performed) were just a few which contact and learning took place by being at the right time in the correct place. Other musicians he was able to listen and learn were Maynard Fergusson and Chuck Mangione groups during a summers in the south of the U.S. and in Tuscaloosa, Alabama.
Yet the thoroughness in the listening process of J. Cary Lewis’, one of America’s finest chamber pianists, was impacting (Lanier trio-Dorothy Lewis, cello, William Preucil, violin). Dieppa keeping focused with his compositional and pianistic goal, little by little started getting solo performances and recognition. It did not happen overnight- but it was the way it was meant to be in order to ensure long term success.
After an exhilarating experience in Atlanta, and having heard pianist Barry Snyder perform at a Liszt festival, Dieppa decided it was time to become a full-fledged soloist, packed his bags and went to master the Chopin etudes at Eastman with the guiding tutelage of Barry Snyder. Snyder had studied with Cecil Genhart, an ardent student of Tobias Matthay, whom Edwin Gerschefski had also received personal instruction. During four and a half years, etudes were the diet. Down times, Dieppa found solace and joy helping his friends do their ear training and a work. He also spent a bit of time learning the ways of a Philharmonic, studied just about every pedagogical manual related to piano, psychology of listening and conducting, composing at the time available at the Sibley Music Library.
In 1990, leaving the tutelage of Snyder, proved to be fortuitous unexpectedly, it had been a positive learning experience. 1991 Dieppa toured as a soloist as Europe opened, starting in Vienna, Prague and Budapest continuously, during this period. Having time to deeply experience and study (1997-2004) Wagner operas at Bayreuth Festspielhause, Daniel Barenboim ‘chef d’orchestre’ ( Tristan und Isolde, Die Meistersinger-) later Parsifal, Gotterdämmerung complete Ring cycle, an intimate relationship with Hungarian Bettina Lunk twenty three years his junior (1998), spent time in Weimar studying Liszt, Goethe and Schiller, and concluded a performance practice Doctorate on Liszt with then the Royal School of Music supervisor adjudicator, Dr. Raymond Thomson. He was impassioned with Budapest- experiencing the culture and music he adopted early in life as partly his own through Liszt and Bartok , Europe, touring Europe, and its artistic life.
It during 2006 when he received the Pro Arte Hungarica prize from the Hungarian ministry of Culture, in collaboration with Columbia University’s Center for European studies that just a few months before, he had been introduced to Heidi Kadrsch (Venezuela) during a Rosh Hashanah celebration, a relationship reminiscent of Wagner’s Tristan and Isolde in soul and content emerged- it served as catalyst to the production of several of his most important works and arrangements- Suite Caribe, Besame Mucho, Insensatez, One note Zamba, Each day Begins and Ends with You, more importantly it cemented what had started with Sinfonia Latina. The couple lived together through -2009 and sporadically kept in touch thereafter. Dieppa took breaks from performances composed, wrote over thirty published articles journals about music, created radio programs, energized the classical music scene reviewing young people’s orchestra performances, recorded videos, and started setting the stage for life as a composer and performer democratizing classical music- spreading inclusiveness, shaking staleness.
2006 – 2010 Towards Composition
Sinfonia Latina had developed Dieppa’s multi-sensorial experience. Bringing Caribbean musical life into a formal theatre demanded a Synesthetic approach- an all-encompassing multi-dimensional, emotional involving, communicative intensely sensuous, performance, not unlike a great relationship. Sensuality and sensitivity experienced with Heidi, both Caribbeans by birth, energized Dieppa into taking the ‘Neue Caribbean music’ to the world.
Recording is an art and starting 2011, working on Beethoven Autumn Passion, and Deep Late night encores I, II albums became a priority. Classical Caribbean was already in the works, Dieppa felt strongly that it was necessary to give due to the music which had served him and his public well during so many performances. Eleven cds were recorded between through 2013, programmed to be released in a timed sequence by Phoenix Classical staring autumn of 2014.
Dieppa’s interpretations are accurate, sensitive, yet rhythmically driving-classics for the new ‘Great Generation’, referring to K.D. Russels’s comments on September 5, 2014- NPR/WSCL blog. New fresh energetic performances. Beethoven’s great three sonatas became a resounding radio hit- a brooding ‘appassionata,‘ the fiery last movement of the ‘Moonlight‘, an impeccable ‘Das Wiedersehen”,…. ‘an experience not to be missed’ said reviewer Jerry Dubins- Fanfare Magazine; ‘Late Night Encores II’, a late night radio favorite , with a ‘compelling’ Liebesträume, two ‘inspirations’ Besame mucho and Insensatez … Lisztian virtuosity and chromaticism with Latin American sensibility – Franz Wulf commented – International Piano Magazine. WQLN, did qualify the album as a ‘nice blend of easy on the ear compositions. Perfect after Mahler or Wagner’.
Up next ‘ Le Chaleur Estivale ‘ young Dieppa performs Liszt sonata and other favorites, ‘ Love scenes’ a favorite for valentines and romantic occasion, it includes classical Caribe tracks and instrumental ˋsongs´, and perhaps the most difficult toccata ever written for the piano as part of Ravel´s ˋLe Tombeau de Couperin´ a recording dedicated to the ´great generation´ of young people of the world, peace, France and Colombia.
Between 2008-2014, a series of interviews and performances recorded for the general public stressing the importance of music education at the home, regardless of genre or musical inclination. A chapter of the documentary can be enjoyed in YouTube, the music tracks, Music from Documentary, are available. This body of work became available in 2013-2014.
Dieppa’s incessant drive to open classical music to all, particularly kids and adults, became a reality with the series Beethoven for Kids–The adventures of Robelio and Friends. He has always wanted for everyone, every child and young adult to have opportunities not available for him.
Finally, in 2017 the book will become available in hard cover, soft cover, iBooks, ebooks and Kindle editions. The stories, taken from noted events in Beethoven’s life are specially reworked for the new generations of listeners and readers. Adventurous stories of Robelio, an imaginary character, charm the reader whom have access to narrations in both English and Spanish in which Dieppa’s beautiful speaking voice and piano performance create an emotional bond. An enchanting voyage about a great composer brought into our contemporary world.
Lastly, maybe most important, Caribe, Three Enchanted pieces for orches tra , an album that defines Classico Caribe, its roots and destiny are Caribbean dances in sound and emotion. ‘ I have never heard percussion and an orchestra used in such a manner…. yet u can dance to it…’ N. Peros (July, 2014)
2011-2015 convergence, a new sound, New Caribe, More Music
As artistic maturity converged with character, personality, heart, mind, body and soul, Dieppa’s career started in a new direction, with a new sound, a new audience, essentially a new musical sphere. Rock, thorough jazz training at Alabama with musicians of the Maynard Fergusson band, (see part I of documentary) makes Dieppa a unique fusion. Still performing classical music Tokyo Ginza programs in 2011 and the intensity of recording and building orchestral repertoire during 2012 through mid 2015 renewed artistry and energy.
New challenges of inclusivity, excellence, direct relationship with the great generation of listeners creating exiting and meaningful music are to be met. Taking a forced rest due to an unforeseen ballet accident, an excellent recovery in way, Dieppa recreated his artistic universe with new paths full of stories, experiences and adventures to share. Addressing a new generation, new fans, new cultural values and trends creates a new artistic point of view. Leading into the new requires preparation, deep knowledge of the past ways to create meaningful, exclusive, experiences for everyone involved.
Influences Music –
The two most influential musicians have been Jimi Hendrix and Franz Liszt, none of which Dieppa saw live. The music however, displays a fair influence of Béla Bàrtók. Astor Piazzola, Claude Debussy and Maurice Ravel, Sergei Rachmaninov, Joe Arroyo. Fruko, autochthonous Caribbean music, canaries and Caribbean music , most certainly, Bach, Beethoven, Beatles, Stones, Santana, Clapton, van Halen, Hendrix and Led Zeppelin. Invaluable help for production and writing of Jornal del Caribe HU will be given due.
About the Caribbean, the world and Music
Dieppa developed a series of articles and journals designed to bring forth the rich cultural, musical, artistic Afro-Euro-Mediterranean and Asian heritage and influence. The central motive: Music, Rhythm, language and legends. The musical multi-cultures in the Caribbean, in modern terms, permutated creating yet more greatness. Jornal del Caribe and various other collection sets are available through El Heraldo de Barranquilla and their cultural magazine ‘Latitud’. PCN post has reprinted many of the writings.
Musical influences and the orchestra
The many innovations that Sinfonía Latina produced are more evident in percussion. Coordinated percussion groups of two or three musicians creating responsorial counterpoint against the different family groups of instruments even, vocal parts, create pseudo-african street dance sensation. In Dieppa’s Inspiracion: De una obra sobre el rio Magdalena, strings, horns, rally against a double bass ostinato creating stresses that enhance the clave recurrence of the percussion. A full orchestral suite may require eleven percussionists, yet the listener is never overwhelmed. Mahler and Wagner, Ravel and Debussy well influenced the orchestration. Dieppa has been an ardent student of Liszt’s Faust Symphonie, Mahler VIII, Beethovens’s IX and Wagner’s Tristan und Isolde.
Musical Genre, Sinfonia Latina, ‘Nuevo Caribe’ a spiritual movement
Classical, rock caribe and jazz, in a symphonic architectural format for a diverse yet pop audience was unheard of. The new genre, its performance, the show had expanded social and musical artistic horizons beyond expectations. It opened possibilities for future pop stars, Shakira, Carlos Vives, groups like Fruko, paving way to social acceptability in all stratagem. Musically, it elevated Caribbean and autochthonous music above the ‘streets’, ‘casetas’ , the red bar district, into venues of repute. Musically it opened a world of sounds and possibilities for the first time never imagined. From Gloria Estefan’s, Shakira’s, Juan Miguel’s , Michelle Camilo’s arrangements, through the carefully layered sounds of Yanni, Sinfónia Latina stands as the first intrepid, avant-garde, yet clearly an early master piece in its own genre. The spiritual movement is beginning for this generation.
Caribe Classico Genre- Nuevo Caribe, ‘Nouveau Caribe’, ‘új caribe’, ‘Neue caribe’
1. Overture’Dreams of Madame Mazhari and the Unvailed Nibelungen
2. Adagio’ the intermittent seas
3. Scherzo’ lightning fast Franco and the splashing Spain
4. Rondo extremely loud, what a pitty Mr. Emiliano Zapata
-Piano Inspiración I.sobre Bésame Mucho
-Piano Inspiración II. sobre Insensatez
-Piano Inspiración sobre III. Samba en Una Nota
-Variaciones Caribe (Ocho Movimientos)
1. Danza Overture
3. Danzon merengue
4. Sarabanda Guajeo
5. A la Gitana
6. La corrida: fuga
7. El Paseo
8. Finale, Rumba
–Tres Piezas Encantadas para Orquesta (Caribbean Dances)
– I.Inspiración- De un Tema sobre el río Magdalena
– II.Fuga rítmica Flamenca Caribe sobre la Pollera Colora
– III. Canción del amor misterioso: Requiem a Joe Arroyo
Concerts and Special Programs
New Caribbean, Neue Caribbean, Nouveau Caribe, 2015
Chemins et Sentiers du vin, 2015
A sound recount of the best vineyards in Burgundy-Orchestra
Eleven recordings, Piano, Chamber Music, small ensemble 2015
Classical and New Caribbean Genres, 2013-2015
Series for Children, Young adults multi-media, 2013
Tokyo, Japan Ginza Programs 2011-2012
Classical Caribbean Programs-Events-Documentaries-Music 2013
Synesthesia in the artes, Gauguin: CMA 2009
Programs, Press, Journal , Colombia, other programs 2008-2011
United Nations celebration Hungarian Independance
With Henry Kissinger Modarator 2006
Pro-Cultura Hungarian Ministry of Culture, Columbia University Center
Hungarian Consulate New York Prize/Award 2006
United Nations Celebration Hungarian Revolution ’56, 2006
1995-2004 Australia, NYC Carnegie Hall, Europe Concerts and Programs
Carnegie Recital Hall, Weill Hall 2004-2005
New York NYC, 2005
Tavazsi Fest Budapest, Hungary 2005
Programs: Europe including: Bern, London, Madrid Bellas Artes, Paris,
Rome et. Al.
Merryll Lynch Prize 2002
Centre for the Performing Arts
Mumbai, India 1998
Gandhi Memorial Library
New Delhi 1998
Organization of American States Chamber Series
Washington D.C 1983-85
Roberto McCausland Dieppa (a.k.a.) ‘Dieppa’ is a North American – Colombian synesthetic musical artist. Composer, virtuoso pianist, conductor, creating idiomatic music from the Caribbean and Latin America (dance, stories, rhythm and legend).
Dieppa established a new genre: ‘Nouveau Caribe’, ‘uj caribe’, ‘Neue caribe’, [Sinfonia Latina, variations: Caribbean II, III (eight in total) and Three Enchanted Pieces – notably ‘Inspiration: on a theme of the Magdalena River.’]
As published author Dieppa shows artistic synesthesia combining the ancient art of storytelling and contemporary curiosities. Active proponent for children, youth and music in a positive social cognitive context, Dieppa developed Beethoven for children: The Adventures of Robelio.
Founder of the Santa Fe – Barlovento Orchestra dedicated to fusions of Caribbean music using percussion as an incremental part of the ensemble, Dieppa has written and made many arrangements of Latin American songs and original compositions.
Original studio albums
Beethoven Autumn Passion; Encores II; Encores; Printemps Ravissante ‘Le tombeau de Couperin’; · Le Chaleur Estivale: Liszt Sonata in b minor, Mephisto Waltz- un Jeune Dieppe; · Songs of Love and Passion for Valentines; · Caribe al Mundo ‘Tres Piezas Encantadas’ Dieppa Conductor Composer, · Music for Documentary- piezas Clásicas y Caribes- el desarrollo de un Género · Liszt and More (Liszt, Clementi, Chopin, Debussy, first CD solo). Beethoven for Kids and Teens · Beethoven for Kids ·
Children’s and young adults Music:
Beethoven for Kids and Teens, ·Beethoven for Kids
· Books/Libros: Beethoven for Kids: The adventures of Robelio and Friends.
English/Spanish, ebook, iBooks, Book baby, Amazon kindle,
Beethoven for Kids: The adventures of Robelio and Friends. iBook, English Spanish Amazon CD baby download versions.
· albums colaborative efforts
Music for Documentary, Documentary musical upbringing of Dieppa
Caribbean Colombia/ Solo and Ensemble.
Robert Schulslapper , Jerry Dubbins, Lynn Rene Bailey, Huntley Dent, Ana Pisionero, (Semana) Casas Sáenz de Santa Maria, Renowitzky- El Heraldo, Galindo -El Heraldo, Gozain-Cromos, M.Guarin- El Heraldo. Alfredo Sabbagh Fajardo-Uni Norte, Canal Uno TV.
Mary Ann Pethel , pro-Arte Hungarica, Nuevo Caribe Genero Musical,
Amazon, cdbaby, iTunes, iHeartRadio, Spotify, Pandora, Utube, Google musi Google, Worldwide Classical Radio, NPR, Las Pampeanas de Ginastera High Museum of Art Atlanta, Georgia.
El Heraldo, Diario del Caribe, El Tiempo, Revista Semana (sonata Liszt), Festivales Música Europe, Budapest Journal, Liszt Academy, Tavaszi Fest, Madrid Bellas Artes, Budapest Arpad Szendi, Bombay Times, New York Times, Cleveland Magazine, Kara Dahl Russell, Kang, Wulf IP Magazine, Peros Media, Flegler Fanfare Magazine, Kang ARG Journal. JP Morgan Library , U tube videos.
FB Dieppa Music. Clássico robertomccauslanddieppa.com,Dieppa-Music; (Dieppa-Clássico, Dieppa-Orchestra, Dieppa-Caribe, Dieppa-Kids, Dieppa-Author, robertomccauslanddieppa, Dieppa Music Classico Caribe FB, t,) SinfoniaLatina (in proces)
Sinfonia Latina Music Fest
Inclusive exclusive artisan musical media