Novedades en los de la Orquesta RTVE concerts. On the run on a bike Young musicians each time it is more necessary because each time more musicians need attention. I carefully noted the names of these three soloists who showed great talent in them Triple by Beethoven: Miquel Muñizviolin; Eva Arderíusovávioloncello; y Laura Ballestrinofloor. Also a guitarist Ausias Parejowhich was lit at the Aranjuez Concert.
He calmly guided other young emerging, Javier Huerta. There are directors who effortlessly transfer music from one part of a piece to another because they understand how to play it. Huerta, no. He is the one who should be played perhaps as the cellist of the orchestra who worked in Weimar, knowing that the instrumentalist needs a teacher and that he does not.
Huerta avoids creating unproductive tension and turns to productions where he changes the sound of the orchestra and makes it heard. En Sombrero de tres picos he found a good balance between ability and power to arrest, which is not easy.
Another great news these days was the foreign one in Spain in Cancionero de Juana la Locagiant composed por José María Sánchez-Verdu a request by the Amberes Symphony to be performed there at the Europalia festival with the maestro Juanjo Mena. With this same title, a beautifully illuminated codex is known in the Royal Library in Brussels, probably for Queen Juana, which contains 24 songs from that period.
Verdú is an avowed admirer of this repertoire, but seems to have been drawn to the varied multiplicity that seems to have appealed to Juana I de Castillo and Felipe ‘El Hermoso’. At court it was double, with flamenco, with Castellan-Aragonese music, and at the same time they maintained two musical bands, one for the music of Flanders and the other for local music, each with its own singers, instrumentalists and repertoires.
Like her fathers, Doña Juana’s court was itinerant. In a permanent place, the human geography – and inevitably the music – of the country will return. In Sánchez-Verdú, all these bifurcations and proliferations are revealed in the following dialogues.
Inside the score, the composers (Pastrana, Ockeghem, Obrecht, Cabezón, Narváez, Desprez, Anxieta, among them with their own Verdú), languages (Latin and Castellano with French and Dutch ancients) and places are spoken: Tordesillas, Burgos, Gante, Lier (province of Amberes), entered by Casó Juana, Granada It obscures historical and musical scienceBut it impresses above all on the subtlety and power of the music.
Just like Queen Juana mezzo-soprano Lydia Vinyes Curtis I traveled places and languages and traveled centuries, from the 16th to the 21st, and gave each its own sound. In addition to the regular orchestra, they were accompanied by a Renaissance laud and a medieval harmonica.
El accordionThe hand organ is a shadow instrument. The performer places it on the muzzle, with one hand in the shield and the other manipulating the fuel, as if it were a human diaphragm, capable of gradually gradating the air pressure. Consider the Italian name suggests, own from accordion not small but prominent. I’m not saying you can vocalize, but you can do consonantsto articulate issues in different forms and with different matrices.
Guillermo Pérez, ‘organetto’, plays ‘Chanson bleue’ by Sánchez Verdú. Video: Fundación Juan March.
You will see part of these capacities mainly in the numbers of spiritual contents (O vos omnes, Parce Domine, Hi Regina), to help others instruments of the human voicelike three flutes, or of ordinary music, like two bombas. The amateur part of the work (Tell me, señora, Mijn hert, Triste está la Reyna, Llenos de lagrimas, Belle, que tiens ma vie, A thousand regrets), if you speak more in praise.
El cancionero de Juana la Loca It’s a multifaceted score that gives voice to the Queen in many unusual ways. For the music, as much or more than for the lyrics, the numbers of this work are all the same questions, human or divine, love or pitysin que falle O vos omnesthe thoughtless pain of the prophet Jeremías. They contain lamentations, spoken in harsh words—yes, even more disturbing to him—for a loving queen who has been arrested by her king and her love.
The outside of this Cancionero It was placed among tasks that couldn’t be easier to carry. El jolgorio del Spanish capricho de Rimski, with his many strengths, created the least suitable climate for Verdú’s intertextual adventure. A dialogue with a wide selection of results was also impossible El lago de los cisnes de Tchaikovsky, who is a god in the second part. Master Josep Caballé DomenechIn any case, it seems to reserve much of the sonic energy and good sound of the orchestra on the outside.
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