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CONCERTS October - December 2015

CICLOS DE MIÉRCOLES

SPECIAL SEASON INAUGURATION CONCERT

The pianist and musicologist Stefan Mickisch has gained special recognition for his piano transcriptions of opera scores, in particular, of Richard Wagner’s colossal works. In this season’s inaugural concert he will perform some of his own transcriptions and fantasias on operas by Puccini, Korngold and Strauss, as well as Wagner himself, which challenge the technical and sound limitations of the piano. These works thus materialise the desire to momentarily bring to life the dense orchestral writing of the operas of this period.

September 30. Stefan Mickisch, pianoTranscriptions of operas by G. Puccini, R. Strauss, E. Korngold and R. Wagner

RECYCLE, REUSE, RECOMPOSE

The prevailing ideology during the Romantic period wound up enforcing the notions of originality and the unpublished as integral elements of musical creation. This idea has thus overshadowed other compositional practices, common to all periods, based on the reuse of previous materials, in particular pre-existing melodies. A new style of work was conceived using these themes in which, notwithstanding, the borrowed material is consciously exposed. More than composition, the result could be termed a “recomposition”, a kind of palimpsest in which different periods, styles and discourses by different composers coexist. This series involves listening to a group of works created using this procedure: recompositions in which various layers are superimposed and, while they maintain the essence of a recognisable original, seem like something radically new.

Wednesdays, 7.30 pm. Live interviews at 7 pm. Live streaming video www.march.es/directo

Broadcast on

PREMIERES AND RE-PREMIERES (94)60 ANNIVERSARY OF THE FUNDACIÓN JUAN MARCH

The affidavit that led to the creation to the Fundación Juan March was signed on 4 November 1955. Six decades later, the institution is still active and remains faithful to its philosophy and the principles of its founder, including the promotion of Spanish music through performance, composition and research. Over the years, the Foundation has organised thousands of concerts and stimulated the composition and premieres of hundreds of works. This concert is a celebration of this anniversary, a festive commemoration accompanied by noted Spanish composers of different generations from the end of the nineteenth century to the present day.

JAZZ FOR MAX BILL. INAUGURATION OF THE EXHIBITION “MAX BILL”

An architect, painter, sculptor, graphic designer, printer, publicist and teacher, Max Bill was one of the most outstanding designers of the twentieth century. Trained at the Bauhaus in Dessau, he defined himself as an anti-academic, explored the richness of geometric forms and mathematical thought and described his work as pertaining to “concrete art” (art made from its own means). Apart from his work as an artist, Max Bill was a great jazz fan, a facet of him evoked in this short concert that formed part of the inauguration of the exhibition of his work.

October 16. Moisés P. Sánchez TríoWorks by G. Gershwin, M. P. Sánchez, R. Noble and J. Tizol

October 7. Erzhan Kulibaev, violin & Eduardo Frías, pianoWorks by J. S. Bach, E. Ysaÿe, I Stravisnky, N. Paganini and S. Rachmaninov, among others

October 14. Tropos Ensemble (Luca Chiantore & David Ortolá, pianos)Recompositions by F. Chopin and M. Mussorgsky

October 21. TwoPianists (Luis Magalhães & Nina Schumann)Works by E. Grieg, J. G. Rheinberger and M. Reger

October 28. Dan Tepfer, pianoVariaciones Goldberg, by J. S. Bach with jazz improvisations by Dan Tepfer

PARIS 1905. VIÑES,A HISTORY OF THE PIANO

Ricardo Viñes (1875-1943) has gone down in history as the pianist of the French avant-garde, the exceptional musician who premiered many of the best piano works by Debussy, Ravel, Satie and Falla in Paris. But Viñes was also a pioneer in the rediscovery and dissemination of literature for the piano from all periods. This series reproduces a pioneering initiative, perhaps the first of this kind in history, fostered by the Spanish musician. In the legendary Sala Érard in Paris, between 27 March and 17 April 1905, he performed four historic recitals featuring a selection of the best keyboard works from Antonio Cabezón to his day. Over a century later these four programs, put together in a very clever and original manner, will sound exactly the same as they did in their day.

November 11. Miquel Villalba, pianoFrom Cabezón to HaydnWorks by A. de Cabezón, W. Byrd, H. Purcell, G. Frescobaldi, D. Scarlatti, F. Couperin, J. Ph. Rameau, J. S. Bach, G. F. Händel and F. J. Haydn, among others

November 18. Eldar Nebolsin, pianoFrom Mozart to ChopinWorks by W. A. Mozart, L. van Beethoven, F. Schubert, C. M. von Weber, F. Mendelssohn, R. Schumann and F. Chopin

November 25. Miguel Ituarte, pianoModern Composers (i)Works by F. Liszt, A. de Castillon, C. Saint-Saëns, G. Marty, Th. Dubois, E. Grieg, C. Scott, A. Borodin, E. Granados and M. A. Balakirev, among others

December 2. Laurent Wagschal, pianoModern Composers (ii)Works by C. Franck, E. Chausson, V. D’Indy, G. Fauré, G. Pierné, C. Debussy, D. de Séverac, M. Ravel and E. Chabrier, among others

November 4. Camerata Capricho EspañolJosé Luis Temes, directorWorks by J. de Monasterio, E. Fernández Blanco, J. Gómez, J. Fernández Guerra, T. Garrido and R. Rodríguez (premiere)

SATURDAY CONCERTS

Saturdays, 12 midday

COMPOSERS SUB-35 (IV)

The series Composers Sub-35, exclusively devoted to Spanish com-posers under the age of 35, has enabled almost 20 different compo-sers to be heard so far. In its fourth year, the concert will feature six young composers and will include four world premieres. This reci-tal will provide the opportunity to hear the music of several compo-sers who are based outside Spain, a fact that reflects the complexity and richness of this moment in history.

December 9. Mariana Todorova, violin & Mariana Gurkova, pianoWorks by F. Coll*, J. Magrané, J. Planells*, M. Chamizo*, M. López Jorge* and D. Ramos Rodríguez

* Premiere

FILM CLASSICS

Film was born accompanied by music. And music’s apparent abstraction and imprecision turned into a powerful generator of meaning. Since then, film composers have created certain codes associated with soundtracks, which endow them with feelings and emotions in a manner that cannot be attained by images alone. This series proposes different approaches to the complex relationship between film, music and its composers. The use of improvisation for silent films, the transformation of classical works in our imagination after their use in film and film composers’ activity in the concert hall are some of the perspectives explored.

October 3. Javier Pérez de Azpeitia, pianoImprovising for Silent Films Improvisations following the period practices over projections of excerpts from silent movies

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BORIS VIAN’S JAZZ

In the twentieth century, few figures have shown such a versatile creative force as Boris Vian (1920-1959). Apart from being a novelist, playwright, poet, journalist, translator and engineer, Vian was a trumpeter, jazz critic, composer and lyricist. This series reviews his multi-faceted relationship to jazz from different angles: a concert featuring chansons written and composed by Vian, another consisting of the repertory he liked to perform as a trumpeter and a third focusing on the figure of Miles Davies, whom the novelist praised in numerous reviews.

November 7 (12 h and 19 h). Grupo Paloma BerganzaThe Composer: the chanson Works by A. Goraguer, B. Vian, Ch. Trenet, A. Popp, M. Theodorakis, G. Moustaki, G. Jouannest, J. Brel, and É. Piaf, among others

November 14. Josep M. Farràs, trumpet with Ignasi Terraza TríoThe Trumpeter Works by J. M. Farràs, I. Terraza, B. Golson, H. B. Smith, S. Wheeler, T. Snyder, J. Kosma and H. Creamer

November 21 (12 h and 19 h). Raynald Colom QuartetThe Music Critic. Miles Davis Works by A. Goraguer, B. Vian, J. Walter, M. Davis and G. Evans

October 10. Cuarteto TippettFrom the Screen to the Stage Works by E. W. Korngold, A. Iglesias, B. Hermann and M. Rózsa

October 17. Marta Espinós, pianoTransformed by Image Works by Ch. Gounod, J. Brahms, J. S. Bach, G. Mahler, F. Chopin, G. Ligeti, H. Arlen and G. Gershwin. It includes screenings of film clips

October 24. Michelangelo Carbonara, pianoEuropeWorks by Y. Tiersen, M. Nyman, E. Morricone and N. Rota

October 31. Quinteto LumièreFilm genres Excerpts from soundtracks from the main movie genres

OF POPULAR ORIGIN: INSPIRED BY FOLKLORE (FAMILY CONCERT)

The influence of popular music on the music of “classical” composers forms the basis of this concert, presented by the ethnomusicologist Polo Vallejo and the pianist Cristina Lucio Villegas. Rhythms, harmonies or melodies of folkloric origins are at the root of the works making up this program, which is divided into different geographical-musical regions: the United States with blues and jazz as points of reference, Spain with flamenco as an inspiration and the Central-European area with music based on Hungarian, Bohemian and Moravian folklore.

December 5. Cristina Lucio-Villegas, piano. Presenter: Polo VallejoWorks by S. Barber, C. Debussy, G. Crumb, A. Soler, I. Albéniz, B. Smetana, L. Janácek and J. Brahms

A MORNING AT THE OPERA (FAMILY CONCERT)

Opera is considered the most complete artistic expression in the history of the Western world. Music and song interact on stage,

PAUL KLEE, THE VIOLINIST PAINTER (FAMILY CONCERT)

Perhaps no other twentieth-century artist has had such a close relationship to music as the Swiss painter Paul Klee, he himself a consummate violinist, to the extent that his manner of painting contains elements that come from music composition. This concert, presented by Fernando Palacios, will reveal the parallelisms between music and painting by comparing certain pieces of music with some of Klee’s paintings. Paul Klee was a painter whose creative poetics with the paintbrush emerge from the art of sound.

November 28. Ana María Valderrama, violin & Luis del Valle, piano. Presenter: Fernando PalaciosWorks by W. A. Mozart, J. S. Bach, A. Scriabin, A. Schönberg, D. Shostakovich and B. Bartók

THE PASSIONS OF THE SOUL

Since ancient times, music has been attributed with the ability to express emotions and to move the listener. But it was in the seventeenth and eighteenth centuries when a more detailed study of the connections between the art of sounds and the expression of the passions was carried out. René Descartes’s treatise The Passions of the Soul (Les passions de l’âme), published in 1649, served as a theoretical basis and contained a limited catalogue of stereotyped passions capable of being represented. Admiration, love, hate, desire, happiness and sadness were established as the six primary passions from which, according to Cartesian rationalism, all the others were derived. The application of rhetoric principles to music was thus the most suitable tool to “move the listener’s affections” and provoke feelings similar to those the music imitated.

Each of the concerts in this series is based on one of the passions of the soul put forward by Descartes and explores the repertories that imitated them. The last concert presents Bach’s Musical Offering, which some scholars believe was faithfully composed according to Quintilianus’s Institutio Oratoria (Institutes of Oratory), the reference treatise for the study of oratory during the period from the Middle Ages to the French Revolution.

THEMATIC FRIDAYS

Repeated on Saturdays, 7 pm.

but so do literature, poetry, scenography and design, among other disciplines. This combination generates a unique and special combination. This concert will use humour to help in our understanding of some of the most important features of opera. Based on a selection of well-known extracts from different operas, the different voice types, the most common musical forms (arias, recitatives, duets and trios), the importance of visual elements and the peculiarities of bel canto will be discovered.

December 12. Camerata Lírica de EspañaWorks by G. Donizetti, Wolfgang Amadeus Mozart, Gioachino Rossini and Giuseppe Verdi

October 30 and 31. AdmiraciónPresentation: Luis GagoDaniel Sepec, violin, Hille Perl, viola da gamba, Lee Santana, tiorba & Michael Behringer, claveWorks by A. Corelli and H. I. Biber

November 27 and 28. AmorPresentation: Tess KnightonRaquel Andueza, soprano & La GalaníaVocal Works related to love from Italian Baroque

This series will continue until May 2016

SUNDAYS & LUNCHTIME Sundays and Mondays, 12 pm.

YOUNG PERFORMERS

October

4 and 5 Trío HammersteinWorks by A. Piazzolla, A. Copland and P. Choenfield 18 and 19 Cuarteto KairósWorks by W. A. Mozart and J. Brahms 25 and 26 La Academia de los NocturnosSacred and secular music in the Aragonese Naples (s. xv) November

1 and 2 Maureen Choi QuartetWorks by V. Parra, A. Soto, M. Choi and N. Rimsky-Kórsakov 8 and 9 Anna Quiroga, harpWorks by J. S. Bach, J. M. Damase. C. Galeotti, I. Albéniz, B. Bri-tten and C. Salzedo 15 and 16 Félix Ardanaz, pianoWorks by F. Chopin, F. Liszt, M. Ravel and G. Crumb 22 and 23 Trío ArnichesWorks by W. A. Mozart, R. Schumann, G. Jacob and G. Kurtág 29 and 30 Dúo BécquerObras de F. Schubert, S. Prokofiev, M. Ravel y A. G. Arutiunian – A. BabadjanianDecember

13 y 14 Alumnos de la Escuela Superior de CantoSpanish baroque music and Actus Tragicus bwv 106 by J. S. Bach

Castelló, 77. 28006 Madrid. www.march.esFree entry. Reservations taken.Prior reservations can also be made at: www.march.es/reservasNewsletter subscription: www.march.es/boletines

The audios of all concerts availables on the Fundation website: :

www.march.es/musica/audios