Archive for the General category
The audiovisual producer Daniel Arregui has launched a crowdfunding project to make a documentary about the 11th Cadaqués Orchestra International Conducting Competition
The audiovisual director and producer Daniel Arregui, who has worked with Tritó on other occasions, has launched a crowdfunding project to make a documentary about the recent 2013 Cadaqués Orchestra International Conducting Competition.
The documentary is intended to present an event that has taken place since 1992 and advanced the careers of orchestral conductors such as Gianandrea Noseda, Vasily Petrenko, Michal Nesterowicz and Pablo González, today the chief or guest conductors of highly prestigious orchestras. (Click on this link to watch a videoclip of the 2010 competition).
Lorenzo Viotti, a young Swiss French conductor aged twenty-three, took the first prize: the opportunity to conduct twenty-three symphony orchestras over the next three seasons!!!
During the second and third weeks of December 2013, over one hundred and twenty conductors from all over the world met up in Cadaqués and Barcelona, respectively, to take part in this conducting competition on its eleventh occasion, with the Cadaqués Ensemble and Orchestra. The works the participants were asked to conduct during the different rounds of the event included pieces by Stravinsky, Mozart and Arriaga, and the premiere of a contemporary work by Hèctor Parra.
Three conductors reached the semi-finals and two were selected for the final concert, which took place at the Auditori in Barcelona on 19 December 2013. Lorenzo Viotti, a young Swiss French conductor aged twenty-three, took the first prize: the opportunity to conduct twenty-three symphony orchestras over the next three seasons!!!
For further information and if you are interested in participating in the project, visit the verkami website. The deadline is on the January 20th.
Daniel Arregui was a direct witness to the intense musical experience shared by these one hundred and twenty-three conductors during the competition and wants this documentary to serve as a record of the event.
For further information and if you are interested in participating in the project, visit the verkami website. The deadline is on the January 20th.
The 2012-2013 season of CNDM in Spain presents a program of more than 102 concerts and pedagogycal activities.
Every year the CNDM ask for works to the most important composers in Spain. In this year we will be attend to the premiere of Tientos by Gabriel Erkoreka.
In words of the CNDM organizers the cycle Series 20/21: ”As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailingtendencies”
One of the concerts that will be presented on the Centro Galego de Arte Contemporánea (CGAC), the Arbós Trio will performance Trio (2001) that the composer Jesús Torres devoted to this group. TRITÓ is pleased to detect that one of his composers is always present on the festivals of contemporary music.
As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailing tendencies.
These are just some of the interesting proposals CNDM season. We suggest you consult the program of the season CNDM to avoid getting lost any proposal of interest.
This year marks the centenary of the birth of one of the most esteemed composers of our editorial house, the prolific Xavier Montsalvatge.
Numerous events will be performed during 2012 to honor his career and work.
TRITÓ joins tribute with a double-disc reissue released by our label in 2002. It brings together the masterpieces of the composer’s catalog (not the most performed): Sortilegis, Sinfonietta-Concerto, Metamorfosi de concert, Impromptu en el Generalife, Hommage à Manolo Hugué and the Concierto del Albayzín.
At that time, the album had been conceived not only as a tribute to the composer in his ninetieth year, but above all as a gift from a group of friends to the Maestro. It brought together many of the ideas that had emerged in conversations we had with Xavier Montsalvatge during his life. Llorenç Caballero
This project would have been unthinkable without the presence of some of the great musicians of our time as Alicia de Larrocha, James Martin, Josep Colom and the Cadaqués Orchestra with Gianandrea Noseda as conductor.
Today our purpose is more ambitious, we want to help the music to appreciate and claim Montsalvatge from other countries, especially across the Atlantic.
Premieres are not always allowed the diffusion or contact with the public they deserve. On the other hand, ICTs now make things much easier for us by breaking down the barriers of distance and announcing those novelties we wouldn’t want to miss out on in our homes.
El libro de los secretos is the result of reasoned hard work by the Zaragozan composer Jesús Torres. It was commissioned by the OBC (Orquestra Simfònica de Barcelona i Nacional de Catalunya ), the same orchestra that will premiere the work today on 18 November, led by its current conductor Pablo González. The venue is the Sala Paul Casals in the Auditori de Barcelona at 09:00 pm.
For those who are unable to attend the premiere there will be two more opportunities in the same auditorium and with the same performers, on Saturday 20 November at 7:00 pm and Sunday 21 at 11:00 am.
But if you cannot attend any of the three sessions, no problem! Three important broadcast stations will air these concerts.
Fruit of a new agreement between OBC and Medici TV we will have the opportunity to watch the Saturday concert on-line and live. Medici TV is an essential medium for the diffusion of orchestral activities worldwide and a guarantee of quality for listeners.
Connection to the platform is easy and free for three days and allows online access to countless concerts stored for viewing and listening on demand. But there is one point that deserves special mention: this is the first time Medici TV will broadcast a concert from the Auditori in Barcelona with the OBC and Pablo González.
And so we think that with so many opportunities to listen to the concert synchronously or asynchronously (as the new communicators like to put it), there is no valid excuse for missing the music in El libro de los secretos.
The subject of this article is the Colombian conductor Alejandro Posada. The inclusion of this conductor in the series “Our conductors” is a special case because Posada is the principal guest conductor of the Orquesta de Castilla y León, an ensemble that has itself worked closely on several occasions with the Cadaqués Orchestra in different concerts and on various recordings for the Tritó label, such as those we present today: two albums well worth listening to, among other reasons thanks to the eminent soloists who play on each one, the flutist Clara Andrada and the violinist Ara Malikian.
Alejandro Posada has been principal guest conductor of the Orquesta Sinfónica de Castilla y León since 2002 – you can see the details of his extensive career on his web page – and has done important artistic work for many years all over Europe and Latin America. He has conducted more than sixty orchestras in over twenty countries. In Europe he has conducted a long list of ensembles including the Belgrade Philharmonic, Sarajevo Philharmonic and Chamber Orchestra, Lower Austria Symphony Orchestra, Pro-Arte, the Vienna Residenzorchester, Szeged Symphony Orchestra from Hungary, the Vienna Mozart and the Mitteldeutsche Kammerphilharmonie (Berlin). Elsewhere, he has conducted ensembles such as the Washington and the Taiwan symphony orchestras and the major orchestras of Central and South America, where in addition to having conducted all the Colombian orchestras he collaborates frequently with the Simon Bolivar (Venezuela), Orquestas Sinfónicas Nacional and Concepción (Chile), the Orquestra de Costa Rica, the Nacional from El Salvador, and many others.
In Spain he has conducted important symphonic ensembles on numerous occasions. These include the Sinfónica de Galicia, Sinfónica de Tenerife, Filarmónica de Gran Canaria, Nacional de España, the Ciudad de Barcelona y Nacional de Cataluña, the Sinfónica de Madrid and, as mentioned above, the Orquesta de Castilla y León.
One of the recordings made by Alejandro Posada for Tritó is the CD titled “Spanish Romantic Violin Concertos“, with pieces by Bretón and Monasterio performed by the brilliant and prestigious Lebanese violinist Ara Malikian. This CD is part of a project that Malikian himself initiated in conjunction with the Orquesta Sinfónica de Castilla y León to revive and record concertos for violin and orchestra by Spanish composers. By the way, this recording is specially recommended by the reviews Audioclásica and Scherzo
The second recording has resulted in one of the most sold CDs in the Tritó shop: the flute concertos by Arturo Márquez, Xavier Montsalvatge and Joan Albert Amargós, performed by the flutist Clara Andrada. Each of these works has its own story: Montsalvatge’s concerto was composed for the current conductor of the Cadaqués Orchestra Javier Martín, Amargós adapted the original version of his concerto for recorder to the transverse flute, specially for Clara, and the piece by Márquez was a contribution suggested by Alejandro Posada himself. You can read a review in Spanish of this CD here.
The growing interest in the revival and new performance of the Latin American colonial repertoire is illustrated by the recent proliferation of recordings. Despite the difficulties encountered in accessing reliable versions of this repertoire, there are plenty of ensembles that have worked directly with the sources to make recordings.
Until just over five years it would have been hard to find two hundred CDs of colonial music, most of it of poor technical and musical quality, or taking a more modern approach that was too general. But this does not detract from the merit of these performers and researchers, who initiated and promoted the appearance of more rigorous groups. While it was common then to choose a varied repertoire without any particular logic, we now find it somewhat more difficult to accept lay, missionary, cathedral and parish repertoires in the same collection, furthermore originating in latitudes and altitudes thousands of miles apart and composed by anonymous or known composers such as Zipoli, Salazar, Padilla Gutierrez, Ceruti, Juan de Araujo, Sumaya, Torrejón y Velasco and Esteban Salas (just to mention a few).
But something is changing. Specialisation and the expectations of the public require performances better adjusted to the context in which the works arose, better prepared and, above all, better performed.
If we go back a decade we find that the growing awareness of the existence of a vast repertoire as yet undiscovered by the recording labels led to the emergence of some projects that have lasted until today. Although highly questionable in concept and of barely acceptable quality, it is worth recalling the work carried out by the Repsol YPF programme for Music of Latin America, which began in 1998 with the release of a box set with several titles with music from Cuba, Argentina, Guatemala, Ecuador, Bolivia, Colombia, Peru, Venezuela, Panama, Mexico and Brazil.
Similarly the French label K.617 has released, as part of its Baroque Latin-American series, approximately forty monographic albums of colonial music. In this collection, the consistency of the criteria used to prepare the different albums is worthy of note.
In 2005 Bolivian Baroque released its first album, recorded by the Ensemble Florilegium led by Ashley Salomon, fruit of Piotr Nawrot’s research and publications. They have released three recordings so far, which display a certain tendency towards the creation of a stereotyped product with a Eurocentric treatment. Lamentably, the quality of the music has declined from the first album to the latest.
Recently, I was surprised by the quality of the music on a recording released by the Ensemble Caprice from Canada under the direction of Matthias Maute. However, once again, the choice of repertoire does not seem to follow any kind of logic that links the pieces together, apart from the mere fact of all coming from Latin America. Furthermore, it does not avoid the clichéd and idealised versioning of the repertoire, where the music has to grab the attention and possess obvious “Latin-American” traits.
Following in the footsteps of pioneers such as Robert Stevenson and Curt Lange, who initiated the revival of the repertoire and the study of the archives of the colonialist cathedrals, there are now specialists working hard all the world, such as Piotr Nawrot, Geoffrey Baker, Bernardo Illari, Miriam Escudero, Lauro Ayestarán, Dante Andreo and Javier Marín. The results of their research provide data that bring us closer to this music and draw attention to its idiosyncrasies. Some recent groups respect these idiosyncrasies by adapting their performances to the different contexts, periods, styles, genres and languages and by trying to produce more careful versions, though no less novel for being so.
La Capilla del Sol is a consolidated Argentinean ensemble that has taken a critical, unbiased approach to colonial music since its beginnings, in 2004. The musical excellence of its members, supported by the thorough research carried out continuously by its director, Ramiro Albino, has paved the way for several concerts by the group in Latin America. Recently, following a European tour (Slovenia, Czech Republic and Spain) the group received very good reviews.
Keeping a careful eye on the editions, using the original sources and taking a creative approach to performance has resulted in music that is alive and full of interest. By merging their specialized training in early music and the folk repertoire, the members give the group a distinctive sound.
The album titled Como pudieran en cualqueir catedral could never sound monotonous, not even to ears unfamiliar with Latin American colonial music. The contrast between the selected works lies in their functional differences, which are, in turn, reinforced by the musical re-creation. In this case there is a guiding principle that links the pieces: the hypothetical reconstruction of a Mass at the Jesuit Missions of Bolivia.
Emulating the procedure followed in the mission chapels, works were selected from missionary archives, which were then transcribed by the musicologists Piotr Nawrot, Sylvia Leidemann, Enrique Godoy and the director of the group, Ramiro Albino; all pieces that were part of repertoire of the Missions of the Chiquitos and Moxos.
As might be expected, the interpretation and recuperation of the sources in an edition and the preparation of a new version requires specific training. In the case of the reconstruction of the colonial repertoire, the performers run into the difficulty of having to “clothe” the music. Some seemingly simple pieces turn out to be extremely difficult to recreate without deep analysis. Other pieces have only survived as fragments and the musicologists chose to reconstruct the missing parts and use additional documentation to obtain further details on the use and ways of the percussion and other instruments, on the natural register of the voices and on how to adorn the music.
Likewise, they have to imagine its possible hybridization with local rhythms, instruments and ways of playing. One of the good points of this album is that there is no sign of contrivance or of an excess of imagination. Nothing seems arbitrary and at the same time the works are imbued with their own character, which distinguishes them from works with a similar structure and function composed in Europe.
It is a real pleasure to listen to this technically polished, high-level recording, with a quality still difficult to find in CDs of colonial music. The similarity in the timbre of voices and their perfect union, and the naturalness of the instrumental performances, gives the pieces a fresh atmosphere that I consider very appropriate if the aim is to reconstruct the spiritual and symbolic context. There are no clichés that fuel the expectations of the listeners; neither is the discourse simplified to bring it closer to the audience. Quite simply, this is a well thought-out, solidly argued and technically sound product.
I hope this work by the Capilla del Sol is only the first in a series of recordings where we will be able discover other repertoires and the associated new approaches, so that they obtain the international acceptance they deserve. Colonial music is consolidating its place in concert programmes everywhere, seeking to re-establish the cultural bond that has united Europe and America for centuries.
CAPILLA DEL SOL
Adriana Sansone, Silvina Sadoly, Soledad Molina, Isabel Barrios (sopranos) / Cecilia Pahl (mezzo-soprano) / Paul Tavaglino (alto) / Diego Zorah (tenor) / Alicia Moran, Virginia Llansa (violins) / Maria Jesus Olondriz (cello) / Evar Cativiela (guitar, vihuela) / Federico Ciancio (harp) / Cristina Garcia Banegas (organ) / Eduardo Rodriguez (bassoon) / Sergio Bazán (percussion) / Ramiro Albino (flute and direction)
Buenos Aires, 2010
This CD was produced with no profit motive in mind and its distribution is free.
On Wednesday 8 June at 8:00 pm, the world premiere of the opera “Yo, Dalí” will take place, to be followed by two further performances on 10 and 11 June at the same time. The work was composed by Xavier Benguerel with a libretto by Jaime Salom and commissioned by the Spanish Ministry of Culture to commemorate, in 2004, the centenary of the birth of the Catalan painter Salvador Dalí. The score is published by Tritó Edicions.
The day before the premiere, on 7 June at 7:30 pm, the authors will speak at a conference moderated by Juan Ángel Vela del Campo.
The lead roles in “Yo, Dalí” will be played by Joan Martín-Royo, as Dalí, and Marisa Martins, as Gala. The rest of the cast is made up by Antoni Comas, Carlos Cremades, Vicenç Esteve Madrid, José Antonio García, Xavier Mendoza, Hasmik Nahapetyan, Alex Sanmartí, Claudia Schneider and Mariano Viñuales, among others, accompanied by the Orquesta de la Comunidad de Madrid and the Choir of the Teatro de la Zarzuela, under the baton of Antonio Fauró.
Miquel Ortega is responsible for the music direction and Xavier Abertí, the stage direction, in this co-production by Operadehoy, the Teatro de La Zarzuela and the Gran Teatro del Liceo.
For further information and tickets: Teatro de la Zarzuela
The delegation from Tritó is back from the Frankfurt Musikmese, which began on 6 April. Although attendance was lower than in revious years – the crisis is also affecting music, unsurprisingly – we were able to strengthen ties with our regular customers and suppliers and create new partnerships. As every year, the direct contact with our suppliers proved very positive, on seeing what novelties they have in store and making new agreements. Particular mention should be made of Barenreiter, Ut Orpheus from Italy, Walhall and MDS, from Germany, the prestigious Oxford University Press, and Music Sales, also from England. There were also Spanish publishing companies present at the fair: Boileau, Clivis, Piles. As a novelty, and thanks to the efforts of Soledad Sánchez, from our commercial department, and Toni Cruanyes, from the editorial department Tritó will begin to distribute for the publishers Faber Music and Alfred. Many other publishers asked us to act as distributors for them in Spain, and we are working on this at the present time.
This year, the Frankfurt Musikmesse presented some interesting developments in the areas of sheet music editing software (which we’ll discuss in another post), editorial policies, new collections, and so on. We noted a general trend towards editions for didactic and pedagogic purposes, many partitioned editions and a greater preference for publications in parts.