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The "indies" of classical music composers Miscellaneous

In a media landscape which is dificles find musical references (beyond the very obvious), is welcome to bring La Vanguardia today an article devoted to chamber music . The text summarizes the current situation of gender in the country, its achievements and difficulties.

Despite being a very brief exposure, and, at times, somewhat cumbersome, "poses defining hallmarks of our time: the emergence of an extraordinary generation of performers, the fragility of the domestic market, the needs of administrative adjustments to the promotion of gender ...

worth reading.

http://www.lavanguardia.es/cultura/noticias/20101127/54077317095/quartet-casals-los-indie-de-la-musica-clasica.html

For these times of crisis, I left with the words of general director of the Auditorium, Joan Oller: "Just as the box office never hold a symphony season, they stand a chamber music."

To record in the marble halls throughout Spain.

Along

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my computer I have a piece in which I write down topics that may be the subject of a blog. Most of them perish with time. Before it's too late, telegraphed transcribe a few notes on issues compositional

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Schubertiada in the mountains

Land Vorarlberg is the westernmost Austria. It is considered one of the richest regions in the world with a thriving tourism industry and a thriving and snow mountain. In two locations in the Walhalla Alpine-Schwarzenberg and Hohenems-held, since 1976, a festival known as Schubertiade. Perhaps chamber music cycle / Lied / pianist posh world scene. Although almost half a year needed to start the 2011 edition, has already left the program of events.

lately

As is usual, the event will take place in four different calls (from 6 to May 22, from 18 June to 3 July, from 27 August to 11 September and from 2 to 9 October). Are more than ninety concerts with a stunning roster of guests paragraph camera. I do a hotshot, more or less complete:

1) String Quartets: Acies, Musagetes Apollon, Artemis, Belcea, Casals, Emerson, Hagen, Jerusalem, Kuss Minetti, Modigliani, Pacifica, Pavel Haas, Takács.

2) Piano Trios: Eggner, Jean Paul, Wanderer Wiener.

3) several instruments: the Capuçon, Chamayou Bertrand, Gérard Caussé, Isabel Charisius, Sol Gabetta, Daniel Hope, Sabine Meyer, Daniel Müller-Schott ...

move programs between the very conservative and openly reactionary. I love to go.

more input 109 euritos face are the cheapest 15 (rate very few performances: not all cost the same). On their website have the Schubertiade is a private organization that receives no public subsidy. More information: http://www.schubertiade.at/

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SHORT CURRICULUM CONTACTO

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Carlos Delgado Mayordomo (Madrid, 1979) is curator exhibitions and art critic. As independent curator she has exhibited for many institutions: Extremadura and Latin American Museum of Contemporary Art in Badajoz, Museum of Contemporary Art Fenosa Gas Natural de La Coruña, Fundación Carlos de Madrid Antwerp, Museum of Contemporary Art in Santo Domingo in the Dominican Republic, National Gallery of Jamaica; Museum of Art, El Salvador, Anthropological Museum of Contemporary Art and Guayaquil in Ecuador; Museum of Contemporary Art in Santiago de Chile and the Museum of Modern Art of Medellín in Colombia. Among its highlights curated Synergies. Current Latin American Art in Spain (with Carlos Jiménez), Agustí Centelles. The memory box and Ciria. Rare paintings, post-gender and Dr. Zaius .

Author of numerous catalogs of exhibitions of contemporary artists, among his publications include painting Traverse (Madrid, 2007) and their participation in the books Who and why. Proceedings of the XXI century art (Madrid, 2001) and Scope. Cervantes. The spatial and aesthetic factor , Antonio García Berrio (Manchester, 2010).

Since 2004 leads and participates as a teacher in seminars and lectures in art history at various institutions. He has published art criticism and research articles in various media such as Discovering the Art , The Andalusian legacy, Arts. Journal of Caribbean Arts and point arts.

is currently Project Director National Foundation International Fund for the Arts, Exhibition Director of the Department of Culture of the City of Las Rozas, editorial coordinator of the magazine and editor Platea Otrotipo magazine.

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Hispanic Chamber music by Consuelo Carredano XIX (II)

chamber music to bring the chapter, you need to know the overall structure of the volume. The index of the book is divided into eight chapters: I.
The transit of the viceroys of Independent States (Aurelio Tello)
II. Nation and identity in the songs and dances Creole (Victoria Eli)
III. Religious music and cathedral chapels in the new republican order (Consuelo Carredano)
IV. The Lyric Theatre (Victoria Consuelo Carredano and Eli)
V. The piano (Consuelo Carredano)
VI. Artistic and musical societies (Victoria Eli)
VII. CHAMBER MUSIC (Consuelo Carredano)
VIII. Education, criticism and journals (Clara Meierovich).

Despite my passion for music genres, musicologist my reason tells me that not a good idea to use them to organize a historiographical discourse as it addresses the volume. Its use can end up obscuring the two axes, in my mind, should organize retrograde historical narratives: the geography and chronology.

This structural problem usually ends up affecting the chapter. In fifteen pages, the author must face the challenge of telling a story that encompasses a genre, a hundred years and a continent. The result is not just convinced me.
After a first reading, I find the following objections.
1) Lagoons repertoire: I am not an expert in chamber music of Latin America, only a curious interest. So, I'm surprised that some works I know, because they are recorded or edited-not included in the chapter. The author complains of the small size of the repertoire and at the same time, forget the quartet Teresa Carreño (1895), the Julian Carrillo (1903), a sonata for violin and piano by Guillermo Uribe-Holguín (1909), the trio with piano Manuel Ponce (c. 1912) ... A warning to the clueless: Although some of these pieces were written in the twentieth century, chronologically, it is purely nineteenth-century works. If Taruskin Dahlhaus and a close the nineteenth century European music in 1914, why close the Hispanic in 1900? (NOTE: time limits on the volume, I find no reflection in the book)

2) Problems with fonts, by necessity, Chapter must be a synthesis from secondary sources. The materials of which the chapter is built are the stories of domestic music-some very stale, and the Dictionary of English and Latin American music of the ICCMU . However, I do not think that working with literature exemption to understand and assess the portfolio to which it refers. I would be surprised to find, in a study of this nature, new data from archives and local newspaper archives. However, awaiting trial on direct-personal-musical works cited.

3) Arguably line of interpretation: from the beginning of the chapter, the author seeks to assert a "Classical period" in Latin American music. Citing Carpentier, then refers to a "strange process of regression" because of the Italian opera ends with the efforts and progress, salvation, reform, etc. the end of the century. It seems that the author takes this story of redemption, well known in musical historiography English-default. The book takes "aged" (as the same directors declared in the prologue) and, by not proposing an alternative interpretation is embedded in the speech. Today, I think it will musicological discourse in other ways.

Beyond these objections, the chapter Consuelo Carredano is the best synthesis available on the Latin American chamber music of the nineteenth. Hopefully our musicological community (although I'm not sure that something like this exists) to produce new materials / new interpretations that allow us to go further and deeper.

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Hispanic Chamber music by Consuelo Carredano XIX (I)

If there is a Musicological speaking community, would now be in full swing. After many years, is launching the project of a new History of Music in Spain , driven by the Fondo de Cultura Economica, Spain and directed by music critic John A. Vela del Campo.
At first, the novelty of the initiative is in the second part of the title of the book: "History of Music in Spain and Latin America." Almost in passing, the project goes beyond the problem-already notabilis-national history and takes account of the musical evolution of the entire subcontinent.
The full collection will include eight volumes as follows:

1. From its origins to c. 1470
2. Of the Catholic Kings Philip II
3. The music in the seventeenth century
4. The music in the eighteenth century
5. Music in Spain in the nineteenth century
6. Music in Latin America in the nineteenth century
7. Music in Spain during the twentieth century
8. Music in Latin America in the twentieth century

understand that the volumes 2, 3 and 4 will address together the Hispanic (of the two sides of the ocean). At the moment, Volume 1 came out and was just released the number 6-the nineteenth-century Latin American music, "directed by Eli Consuelo Carredano and Victoria. Given the aging
is the History of English Music Alliance and the lack of musical stories in our Latin American book market, the project deserves all sorts of congratulations. However, it could make many objections to a plan set leaves, venting, many untied ends. Maybe at another time (and in another forum) to order my opinions. What I want with this post is to account for volume 6 chapter devoted to chamber music in nineteenth-century Latin America. Consuelo Carredano writes.

I read with much pleasure Carredano essay devoted to the Cuarteto Latinoamericano. Strings riots titled: Cuarteto Latinoamericano, twenty years of music (Mexico: FCE, 2003), is a book that should grow in the music publishing market-English: entertaining, informative, very well told ... With that background, I I made few hours with the new publication and I just finished Introduction and Chapter VII, entitled briefly Chamber music.

continued ...

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Salzburg, and Guinness Mandelring

The importance / seriousness of the music festivals can be measured by how early to show their programming. Already out the list of actions for the next Festival of Salzburg (more than seven months before) and I've taken a look.

There will be time to discuss the chamber music section which, while not overwhelming, it is worth really worth it. However, I opened this post because I want to highlight an event worthy of the Guinness in two days, the Quartet will perform Mandelring fifteen quartets of Dmitri Shostakovich. I know that have recently been grabaditos and to be major challenges ... but ceases to amaze. Here are the details:

August 18, 1600 hours; Mozarteum

Shostakovich: Quartets 1, 2, 3, 4, 5, 6, 7 and 8.

August 19, 1600 hours; Mozarteum

Shostakovich: Quartets 9, 10, 11, 12, 13, 14 and 15.

are six hours of music. A feat for the performers and the public!

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Vikram A constant music Seth

I just read A constant music. Years ago, some friends who know my passion for chamber music, recommended me. I ignored them. I usually convince fiction musical themes. However, in a weak moment, I started reading the novel by Vikram Seth.

Baroja remember an essay (or was it the prologue of a book of stories?) In which he explains how, in the modern world, there was no time for the novel. According to the author, the story was appropriate long leisurely evenings long nineteenth century. The thousand walks of life contemporary-and wrote in the twenties, married wrong with the cadence of the genre.

There are many types of life. Even in a single individual. I read the first half of a continuous music in a weekend, with the calm enough to let me go with the rhythm simple, unhurried, his prose. I finished the novel on the subway, hastily. I was happy to finish.

At the bottom of the book is a tragic love story that does not convince me. Nor do I have a big test because I'm not used to reading such stories. I prefer the novels in which nothing happens. So I read newspapers and novels of mystery writers.

However, the landscape of the drama is, at times, poignant. The main character is second fiddle in a quartet and the group's life (their activities, their relationships, their trials ...) seem to give off a lot of reality. When the love story allows it, the author also conveys a sincere passion for great music.

could recommend.

I like the final paragraph. I copy here:

The music, the music, it is enough. Why seek happiness?, Why wait not suffer? It is enough, and is quite blessed to live day after day and hear that music, not over, the soul could not bear it, from time to time.

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Upcoming shows in Madrid. November 2011

I read this book somewhat hastily and I do not have left me many things in the pipeline. If any reader is likely to miss something that let me know. AMCC =

Madrid Association of Composers
ESMRS = School of Music Reina Sofía
IIMCM = International Institute of Chamber Music of Madrid
OSM =
Madrid Symphony Orchestra Wednesday, 3

19.30 hours Nicolás Salmerón Cultural Centre
AMCC. COMA Festival 2010

Turina Trio Brouwer, Benavente, Jurado, Mosquera, González-Acilu, Morales Case

19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera
cycle Poulenc Group / Piatti Quartet / Trio Metamorphosis
Danzi, Haydn, Shostakovich

Thursday 4
12.00; Auditorium of the ESMRS
Sony ESMRS. Prelude cycle
Rui Borges Maia (flute) / Cameron Roberts (piano) / Trio Metamorphosis
Mozart, Dutilleux, Bertran, Mendelssohn

Friday 5
19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera
cycle of string quartets Department

Wednesday 10
19.30 hours Auditorium
FJM FJM. Wednesday
cycle
Quiroga Quartet Webern, Schoenberg, Brahms



19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera Series Brass Department


Thursday 11
19.30 hours the ESMRS Sony Auditorium
IIMCM. Da Camera
Cycle Groups Department

piano Sunday 14
12 hours
Teatro Real Teatro Real. Sunday
Soloists Chamber of OSM
Janácek, Ewald, Holst, Shostakovich


Wednesday 17 19.30 am; Auditorium
FJM FJM. Wednesday
cycle
Kandinsky Trio Zemlinsky, Schoenberg, Brahms




Friday 26 20.00 am; Real Academia de Bellas Artes de San Fernando
Fundación Caja Madrid. The Centuries Quiroga Quartet Gold
Breton


Monday 29
12.00; Auditorium
FJM FJM. Lunchtime concerts
Götterdämmerung Duo (clarinet and piano)
Burgmüller, Menéndez, Poulenc, Piazzolla

Quiroga seems that, finally, have a regular presence in their city. It was unusual that the only full-time quartet Madrid was heard around Easter to Ramos.

is also good news that we see the Kandinsky Trio, a group of Barcelona. Historically, the chamber music life of the two largest cities of the peninsula have tended to be ignored. Hopefully soon, the AVE and the crisis- we know better.

And some more ...