Posts Tagged Jaime MArtín

XI Cadaqués Orchestra International Conducting Competition

Posted by Soledad Sánchez Bueno on September 6, 2013  |  Leave a comment

On the next Sunday September 8th is the deadline for registration to participate in the XI Cadaqués Orchestra International Conducting Competition that is organized by the Cadaqués Orchestra. The Cadaqués Orchestra International Conducting Competition is open to conductors of all nationalities born after 20 December 1977.

In this edition the jury will be composed by the conductors Gennady Rozhdestvensky, Lutz KöhlerJoji Hattori and Jaime Martín (main conductor of the Gävle Symfoniorkester and main conductor of the Cadaques Orchestra). Also will be part of the jury François Bou, manager of the Orquestra Simfònica de Barcelona i Nacional de Catalunya, Cristina Rocca, artistic manager of the Orchestre National de France, Louwrens Langevoort, artistic manager of the concert room Köhlner Philharmonie, and the Cadaques Orchestra.

We would like to remind you that the first prize is a tour of concerts during three years conducting the orchestres that collaborate with the Cadaqués Orchestra International Competition. This contest has been a decisive step in the career of great conductors as Pablo GonzálezVasily Petrenko or Gianandrea Noseda; all of them are now working with some of the best orchestras on the world.

The bases can be found directly in the web of the XI Cadaques Orchestra International Conducting Competition.

Our conductors (IV). Sir Neville Marriner

Posted by Cristina Martí on August 17, 2011  |  Leave a comment

In this fourth entry we continue our overview of the conductors who have recorded with Tritó. On this occasion, we call to mind Sir Neville Marriner, who has been principal guest conductor of the Cadaqués Orchestra since 1992.

Sir Neville Marriner studied violin at the Royal College of Music in London and the Paris Conservatoire. In 1949 he joined the Martin String Quartet and founded the Jacobean Ensemble with Thurston Dart and the Virtuoso String Trio, and worked with legendary directors such as Toscanini, Furtwängler, Cantelli and Karajan.

In 1959 he founded the Academy of St Martin-in-the-Fields, where he was concertmaster and later chief conductor. He has also conducted the Los Angeles Chamber Orchestra and the Stuttgart Radio Symphony Orchestra.

He has been decorated twice for his work on behalf of music: he received a CBE in 1979 and was knighted in 1985. In addition, the Academy of St Martin-in-the-Fields with Sir Neville Marriner has received the Queen’s Award for Export Achievement in recognition of their accomplishments as concert performers.

Sir Neville Marriner’s most prolific period in terms of recordings with the Cadaques Orchestra and Tritó was when he was chief conductor, releasing albums with works by Juan Crisóstomo de Arriaga, with the voice of Ainhoa Arteta, such as the Obertura de los esclavos felices, works by Fauré and Gounod, and a CD with three fantastic compositions by Stravinski, Montsalvatge and Prokofiev (Pulcinella Suite, Sortilegis and the Classical Symphony respectively). In addition, he has recorded Pulcinella in its full version in a concert for which David Nel·lo wrote and narrated a tale of imagination set in the city of Tifna, with princesses, good and bad characters, and elephants.

Sir Neville Marriner has conducted works by Mozart with the Cadaqués Orchestra on numerous occasions, resulting in three albums: the Sinfonias concertantes, a double CD with four concertos, for flute (K.313), for oboe (K.314), for clarinet (K.622) and for bassoon (K.191, and, lastly, the Concertos 1 and 2 for flute and the Concerto for flute and harp on a CD which has just been re-released with a more modern design. On this latter album, the solo flutist is Jaime Martín, currently chief conductor of the Cadaqués Orchestra, and the harpist is Bryn Lewis. In the case of another great composer, Beethoven, Sir Neville Marriner has recorded his Symphonies 1,2,5 and 6 with Tritó on two fantastic CDs.

Last but not least, the three Sinfonias Concertantes by Danzi, Fernando Sor’s Overtures and Symphonies and the works of the contemporary composer Joan Guinjoan, Sincrotó and Alba, are the three other recordings that the period when the Cadaqués Orchestra performed under the baton of the brilliant English conductor has left for posterity.

Commitment to music, by Javier Pérez Senz

Posted by Javier Pérez Senz on June 9, 2011  |  Leave a comment

Catalonia de Isaac AlbenizThere are things that stir the music-lover’s memory, which bring back reminiscences of that irreplaceable experience which consists of listening to live music in its natural environment, the auditorium. For many fans, the recent recording of the symphonic rhapsody Catalonia, by Isaac Albéniz, at the hands of Jaime Martin and the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) will come as a pleasant surprise: the discovery of a score that exudes freshness, simplicity and melodic charm. For others, it will imply the rediscovery of a work that would be an obligatory part of the concert repertoire in any civilized country, but here, sadly, is not.

Its audition allows listeners to refresh their impressions and memories of great conductors and composers who, throughout their careers, demonstrated their belief in the value of this piece by their acts, without getting caught up in the widespread and sterile debate about Albéniz’s poor reputation as an orchestrator. Certainly, it is a marvel of refinement, but, when performed with full conviction of its merits, the listener is immediately captivated by the simplicity, the melodic inspiration and eternal freshness that permeate the Catalan composer’s music.

I am speaking of legendary musicians, such as the Russian Igor Markévitch, especially in his wonderful period of artistic involvement with the Orquesta Sinfónica de la RTVE; the Romanian Georges Enescu, stalwart defender of a piece that he often programmed, and all over the world; and Eduard Toldrà, the brilliant Catalan violinist, conductor and composer who, in 1944, created the Orquestra Municipal de Barcelona (now the OBC, which has at last recorded Catalonia), and who was a fervent promoter of the Spanish repertoire.

A greater commitment to music is needed and less obsession with attendance figures and box office takings.

There is a need for concert programmers who really believe in Spanish music.

The list includes musicians who are active at this time, such as Antoni Ros Marbà, a passionate perfomer of Albéniz and, in a very special way, of Toldrà, who was his teacher, Jesús López Cobos and José de Eusebio (thanks to his enthusiasm we now know more about the Camprodón musician’s operatic legacy than ever before; the recording discussed today includes an orchestral suite from Pepita Jiménez revised by him), and on his first CD with the OBC, Jaime Martin,

Albéniz had and has eloquent supporters. Why, then, is Catalonia still rarely heard in concert halls? Difficult question. First of all, there is a need for concert programmers who really believe in Spanish music. It is pointless to include just four or five pieces in a whole symphonic season; nor is the Spanish share of the programmes sufficient; nor are there enough commissions, increasingly unambitious and scarce. A greater commitment to music is needed and less obsession with attendance figures and box office takings.

There is enough leeway to balance the offer using the more popular classics to attract the general public –it all depends on the programmers’ imagination. The regularisation of works such as Catalonia – and this piece is just one example because there are hundreds of scores in the same situation – requires a strong alliance between performers, programmers and the public.

The musicians with power – and the chief conductors of a symphonic ensemble have a lot of power – are the ones who ultimately have a greater say when it comes to choosing which works are programmed and which are left out: when a chief conductor wants to play a given piece, eventually it gets played.

Programmers, managers and artistic directors should limit themselves to doing their duty, because the revival and dissemination of the national repertoire is an obligation for all orchestras, auditoriums and the concert-going public.

As for the public, the greatest possible complicity is needed, using the media that now, more than ever, can arouse – if used with imagination and efficiency  – music-lovers’ curiosity, the desire to discover new and old scores, the possibility of expanding frontiers.

Jaime Martín, appointed chief conductor of the Cadaqués Orchestra

Posted by Cristina Martí on February 2, 2011  |  1 Comment

La Orquesta de CadaquésJaime Martin, a founding member of the Cadaqués Orchestra, was yesterday officially appointed chief conductor of the orchestra, in an act held in Madrid at the Café de la Opera in calle Arrieta 6. He will share this post with Gianandrea Noseda – chief conductor since 1994, year in which he won the Cadaqués Orchestra conducting composition – who will continue as principal and chief conductor, and with Sir Neville Marriner, who is principal guest conductor.

His first performance in this post will take place in a very special context. Two concerts in Zaragoza and Madrid where Jaime Martin will be accompanied by Lisa Batiashvili on this tour with the Cadaqués Orchestra. The concerts will take place on Monday 7 February at the Auditorio Nacional de Madrid and Tuesday 8 February at the Auditorio de Zaragoza, as part of the Ibermúsica Cycle.

If you are interested, here you can consult the recordings made by the Cadaqués Orchestra.

Jaime Martín

Jaime Martin

After an intense career as a flute soloist, Jaime Martín entered in the world of orchestral conduction at the hand of Sir Neville Marriner, who presented him on a joint tour of Spain with the Cadaqués Orchestra. Since then he has conducted the Manchester Camerata, the Orquesta Sinfónica de Tenerife, the Irish Chamber Orchestra, the Orquesta Sinfónica de Castilla y León, the Simfònica del Vallès and the Sinfónica de Galicia, among others. In the forthcoming months he will work with Academy of St Martin in the Fields, the Orchestre Philharmonique de Radio France, the Cadaqués Orchestra, the Orchestre National de Lyon, the Orchestre National du Capitole de Toulouse and the London Mozart Players, and he will make his operatic debut in Il barbiere di Siviglia with the English National Opera.

On the Tritó label he has recorded Beethoven’s Third Symphony and the Sinfonietta by Ernesto Halffter with the Cadaqués Orchestra, as well as two CDs with the Orquestra Simfònica de Barcelona i Nacional de Catalunya, with works by the composers Agustí Charles and Isaac Albéniz.

Born in Santander, Jaime Martín studied in Madrid and later in The Hague (Holland). He has been flute soloist with the Royal Philharmonic Orchestra, the Academy of St Martin in the Fields, the Chamber Orchestra of Europe and the orchestra of the English National Opera, and has also held the same position on numerous occasions with the Cadaqués Orchestra. He is currently flute soloist with the London Philharmonic Orchestra and a teacher at the Royal College of Music in London.

As a flute soloist he has performed with a large number of orchestras including the Academy of Saint Martin in the Fields, the Royal Philharmonic Orchestra, the Virtuosos of Moscow, the Orquesta de Santa Cecilia de Roma, the Chamber Orchestra of Europe, the Sinfónica de Tenerife, the Sinfónica de Galicia, the Sinfónica de Radio y Televisión Española, the Sinfónica de Castilla y León, etc. On the Tritó label, with the Cadaqués Orchestra, he has recorded Mozart’s concertos for flute and orchestra under the baton of Sir Neville Marriner and the Sinfonietta Concerto by Xavier Montsalvatge under Gianandrea Noseda. He has also recorded Bach’s concertos for flute, violin and piano for Sony, with Murray Perahia and the Academy of Saint Martin in the Fields, and the Mozart Quartets for flute and strings for EMI.

Jaime Martín has performed chamber music with artists such as Julian Bream, Beaux Arts Trio, Pinchas Zukermann and Pierre Laurant Aimard, and has made numerous recordings with the Gaudier Ensemble.

He has been chief conductor of the Cadaqués Orchestra since the end of 2010.

Jaime Martín and the Cadaqués Orchestra in the media

Jaime Martín, nombrado director titular de la Orquesta de Cadaqués (Revista Doce Notas)

J.Martín quiere “europeizar” a la Orquesta de Cadaqués con sus “contactos” (ABC)

«La dirección de orquesta me da una increíble sensación de libertad» (El diario montañés)

Jaime Martín asume la dirección de la Orquesta de Cadaqués para darle dimensión internacional (Europa Press)

El flautista de Cadaqués (La Vanguardia)

Catalonia by Isaac Albéniz

Posted by Cristina Martí on January 3, 2011  |  1 Comment

The two great symphonic works by Isaac Albéniz, Catalonia and Catalan Symphonic Scenes, have been virtually ignored by the recording companies: the versions of Catalonia available on the market are scarce, date back over two decades and are from abroad, and as regards Symphonic Scenes there is no evidence of any recordings prior to this release.

Following the recent revival of the opera Pepita Jimenez, a suite was released that brings together the orchestral sections and it concludes this selection of repertoire that aims to bring the public closer to Isaac Albéniz’s authentic symphonism.

The new recording is titled Catalonia and includes the abovementioned works, performed by the Orquestra Sinfònica de Barcelona i Nacional de Catalunya under the baton of Jaime Martín. It should be mentioned that the sleeve notes were written by the musicologist Josep Dolcet.

Listen to it here >

Mozart Year at Tritó

Posted by Marcel Soleda on January 3, 2006  |  Leave a comment

As many of you will already be aware, this year, 2006, marks the 250th anniversary of the birth of Wolfgang Amadeus Mozart. At Tritó we have always taken an active interest in Mozart’s music, especially in the area of recordings. Our catalogue currently includes three CDs directed by one of the great Mozart specialists of recent decades, the English conductor Sir Neville Marriner, and a repertoire which covers a good part of the great composer’s concertante music.

Our latest Mozart CD is the flautist Jaime Martín’s recordings of the flute concertos and the concerto for flute and harp (with Bryn Lewis on the harp), released in late 2005; the other two are a CD of the two symphonies concertantes (for wind instrument and for violin and viola) and a two-disk set of four of the concertos for wind instruments (flute, oboe, clarinet and bassoon).

The soloists on both recordings are members of the Cadaqués Orchestra. Finally, we ought to mention that we also have the score for Mozart’s 15th Symphony in the revised version by Neville Marriner.

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