Posts Tagged Jesús Rueda
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.
With symphonies, string quartets, chamber concertos, operas and a great deal of piano music to his name, Jesús Rueda is one of the most representative composers of Spanish music alive today. His piano works, performed by Ananda Sukarlan on this recording, are on the virtuoso lines of composers such as Chopin, Liszt, Ravel and Prokofiev.
His piano compositions range from the dazzling firework display present in Mephisto, based on Liszt’s first waltz, to the two sonatas, the second of which is influenced by jazz and Bali Kecak dance rhythms from Indonesia, to the delightfully sensual tonal palette
of the 24 interludes, and Invenciones, a relatively simple piece with special appeal for children.
This is very personal music where classical languages and contemporary elements are brought together to create richly expressive and communicative music.
On Monday 23 March, the Orquesta de Cadaqués ensemble, under the baton of Alejandro Posada, interpreted a programme that included three fundamental works by the composers Xavier Benguerel (Hexagrama), Ernest Martínez Izquierdo (Norte-Sur) and Jesús Rueda (Chamber concerto no 2).
These three works, written in very different languages, present part of the current Spanish music scene.
The concert was completed by one of Arnold Schonberg’s masterworks, Ode to Napoleon, with a solo contribution by the baritone and actor David Moss.
Further information at: http://cdmc.mcu.es/
After a 25-year hiatus, Mexico and Spain once again co-organize a festival of contemporary music, this February 17 to 28, to present the leading exponents of the genre from both countries, along with poetry recitals and master classes in composition.
The new Spanish-Mexican Festival of Contemporary Music will revive artistic exchange and end a quarter of a century of isolation and lack of awareness of the work of musicians from either nation, says the director of the event, Marcela Rodriguez. “Now,” she adds, “we are going to reactivate the exchange and presentation of the latest from genre, with works of high quality in terms of composition and execution. They are fresh and define the vision and influences of each of the participants.”
She recalled that the original festival was organized by the Mexican Alicia Urrueta and the Spaniard Carlos Cruz de Castro. “It was called the Spanish-Mexican Festival and was held from 1973 to 1983. After that, contact between the composers from the two countries was broken off.”
She explained that the programme consists of concerts of chamber and electronic music. “There will be five world premieres and 17 pieces will be played for the first time in Mexico.”
In total, she said, there will be six concerts with pieces by Mexicans Lara Ana and Gabriela Ortiz, among others, and the Spaniards José Manuel López, Carlos Cruz de Castro, José Luis Castillo, Javier Arias, Jesús Rueda, Santiago Lanchares, Ramón Humet and Mercedes Zavala. She also highlighted the performances by the ensembles Onix and Catrina String Quartet, plus the piano soloists Carlos Apellániz and Alberto Rosado.
As part of its current season, the National Orchestra of Spain, under the baton of Pedro Halffter, presents in Madrid La Tierra (The Earth) by Jesús Rueda. The piece was commissioned by the Madrid conductor to complement Gustav Holst’s suite The Planets, and originally premiered in June 2007, performed by the Seville Symphony Orchestra.
In composing the suite, Holst drew on myriad sources, mixing symbolism, astrology and even chemistry, with more earthly matters such as the horrors of war (it was written during World War I). This is especially evident in Mars, a score that has been used often as background music, most famously perhaps in “Star Wars”.
Over time, much of the symbolism attached to The Planets has been lost, leaving its most universal and astronomical facets, from which Jesús Rueda drew inspiration for his composition.
The result is a piece that both captures the music and spirit of our time, and evokes the music of Holst.
It is a thrilling, fiery piece, reflecting the orderly chaos of our planet and our lives.
“La Tierra” (TR634), written in 2006 by the Madrid composer Jesús Rueda on commission from the Seville Symphony Orchestra, the Autor Foundation and the Spanish Association of Symphony Orchestras (AEOS), is to be presented this season in Madrid in reduced version for instrumental group. The 3rd movement of Sinfonía 3 becomes an independent work with the intention of completing the cycle The Planets by Holst.
The Plural Ensemble – which commissioned the reduced version – conducted by Fabián Panisello, performs at the Chamber Hall of the Madrid National Auditorium this 6 October. The programme also includes Mahler’s Song of the Earth in its reduced version by Arnold Schoenberg.
This year’s Peralada Festival provides the setting for the Cadaqués Orchestra’s premiere of the fourth orchestration, done by the Madrid composer Jesús Rueda, of Albéniz’s Suite Iberia.
Suite Iberia is one of the best-known works by Isaac Albéniz. Originally written for piano, its scenes of Hispanic references have been orchestrated several times, but this is the first adaptation for classical orchestra. Rueda’s profound feeling for the music of Albéniz has produced orchestrations of Triana, Evocación, Lavapiés and now El Puerto that demonstrate tonal and musical richness.
In addition to El Puerto, the Peralada Festival concert, this 5 August, also features Evocación, under the direction of maestro Neville Marriner, principal guest conductor of the Cadaqués Orchestra.
Quaderno d’estate, a work for guitar by Jesús Rueda, commissioned by the Jacinto and Inocencio Guerrero Foundation for the 17th International Guitar Competition in 2007, will be premiered by Stefano Cardi this 25 May in the Italian city of Ferrara at the Festival miXXer – le mille musiche del secolo XX, organized by the city’s G. Frescobaldi Conservatory and the Teatro Comunale.
The work, which has received high praise from the critics, is rich in nuances, with constant changes in tempo and rhythm, and demonstrates the Madrid composer’s command of the instrument. The guitarist Stefano Cardi knows the work well after overseeing and adapting the writing for guitar.
Tritó announces the release of Symphony I by Jesús Rueda, composed in 2000, and since its premiere lauded by critics as one of the most important orchestral works of our day. The recording by the Spanish National Youth Orchestra conducted by Ernest Martínez-Izquierdo – also including symphonies by Jesús Torres and David del Puerto – has also received widespread praise in the specialist press. The piece, which is scored for large orchestra with triple woodwinds, six horns, piano and three percussionists, is subtitled Laberinto in reference to the labyrinth from classic mythology and a programme which takes the listener on a journey in four stages each joined and resolved by the Sphinx, with the Minotaur as the apotheosis of the work at the end of the journey. Tritó Edicions has also released three new works by Hèctor Parra: Time Fields II, Time Fields III – composed for unaccompanied instruments – and Andante sospeso, a duet for flute (or clarinet) and piano. The latter title refers to the counterpoint between the concept of mobile and static sound, with the flute and piano alternating in the creation of atmospheres which are at once complementary and opposing. Time Fields II, on the other hand, is written for solo clarinet and exploits all the potential of the instrument (multiphonics, microtones, changes in timbre), while Time Fields III, originally conceived for baritone saxophone and later adapted for bass clarinet, now appears in version for solo flute. The work is constructed out of three separate instrumental materials – melodic lines, extended notes and complex rhythms – which are combined with the many shifts in speed which mark the work. Tritó’s saxophone repertoire, meanwhile, grows with the piece Haendeliana, which Albert Guinovart originally composed for performance with voice, recalling the opera arias of the Baroque composer Georg F. Haendel. The success of the piece inspired the composer to make several versions and transcriptions, and this one is adapted for soprano saxophone, clarinet or oboe, accompanied by the piano.
This past 1 June at the Teatro de la Maestranza in Seville the Real Orquesta Sinfónica de Sevilla conducted by Pedro Halffter performed the world premiere of this work by the Madrid composer Jesús Rueda. La Tierra is an appendix to Gustav Holst’s suite The Planets. Rueda’s piece, of a length similar to those of the English composer, is subtitled ‘la mare gaia’ (Mother Gaia) and translates the author’s personal idea regarding the planetary spirit as a “vertiginous turbine”. This is a virtuoso work for orchestra which stretches the limits of the instruments, especially in the formal aspect, and is notable for its intense tempo. The composition was co-commissioned by Fundación Autor and the SGAE (Spanish Society of Authors and Publishers) and the Seville Symphony Orchestra with its principal conductor Pedro Halffter. Also by the same author, Tritó has recently published the score of Memoria del Laberinto for violin, cello and piano. This latter piece was recorded on a CD by the Arditti Quartet with Ananda Sukarlan on piano, published by Fundación Autor.
Three important composers of our time,have come together in this CD, Jesús Torres; Symphony No. 1 ‘Boreas’ by David del Puerto and Symphony I ‘Laberinto’ by Jesús Rueda. The three figures, of well-defined, well-distinguished musical personalities, demonstrate the creative richness of a generation of Spanish composers born in the 1960s. CD “TRES SINFONIAS”
During May, June and July, Tritó is offering students, teachers and music schools a special discount on its most recent piano repertory. The following works, bought online, come with a 15% discount: 24 interludios and Ketjak, by Jesús Rueda; Dos invenciones, by Santiago Lanchares; Circus, by Joan Chic, and Cuaderno para los niños, by David del Puerto.
Hyperión II by Jesús Rueda is to premiere in a concert by the Castilla y León Symphony Orchestra (OSCyL), conducted by Alejandro Posada, at the Valladolid Auditorium this 26 April. The work, which is along the lines of an overture, features strong contrasts with two quite distinct sections. Hyperión II comes six years after the premiere of the first Hyperion.
The Cadaqués Orchestra and the Orquesta Sinfónica de Castilla successfully perform Shostakovich and Albéniz
The Castilla y León Symphony Orchestra and the Cadaqués Orchestra (ODC), conducted by Gianandrea Noseda, interpreted this symphony at the Auditorio Nacional de Música de Madrid, as part of the Ibermúsica season. This was the first concert in a joint project between the two orchestras which included a repeat performance in Zaragoza, offering another chance to hear this intense, expansive symphony. The project is to culminate in the upcoming release of a CD by Tritó. Another point of interest in this collaborative effort is the world premiere of the new orchestration of Evocación - the movement from Isaac Albéniz ’s Suite “Iberia” – by Jesús Rueda, winner of the Spanish National Music Prize 2004 and resident composer with the Cadaqués Orchestra, who has also orchestrated two other movements, Lavapiés and Triana.
Albéniz’s piece featured in the first half of the two concerts, played by the Cadaqués Orchestra (ODC) alone, while in the second part the two orchestras performed Shostakovich ’s 4th Symphony together.
The Columbian public acclaimed this work by Jesús Rueda in a performance by the Bogotá Philharmonic Orchestra conducted by Alejandro Posada at the Teatro Colón in Bogotá on 16 and 17 March.
Viaje imaginario, dedicated to Francisco Guerrero, the composer’s mentor, was written just three months after Guerrero’s tragic death.
Dedicated to the Indonesian pianist Ananda Sukarlan, Jesús Rueda has titled this sonata with a term used in the island of Java to describe the dances with which the inhabitants enter a state of trance as a means of purification.
Commissioned by the Orquesta Sinfónica del Principado de Asturias, the work premieres this 8 February at Teatro Jovellanos in Gijón (Spain), followed by another performance on 9 February at the Auditorio Príncipe Felipe in Oviedo, under the direction of Maximiano Valdés.
Since its premiere in June 2001 at The ContemporaneaMente Festival in Lodi (Italy), Jesús Torres‘ fascinating Trio for Piano, Violin and Cello has probably been one of the most regularly-featured current works on our concert programmes. In a first hearing, the scant twelve-minute duration of this piece flies by in perfectly stunning individual and group virtuosity.
There is a single luminous line which exposes forcefully a personal poetry of refined and visionary forms.