Category: programmes


Poems for Liszt

POEMS OF PETRARCA, LAMARTINE AND MARIO MIGUEZ
TRANSLATED AND ADAPTED BY ENRIC BENAVENT

DOWNLOAD AS PDF -> POEMAS PARA LISTZ (Recitado y Piano)

 

 

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NATIONAL AND SOUTHERN NATIONALISM

EDVARD GRIEG (1843-1907)

Suite Holberg

I Praeludium

II Sarabande

III Gavotte

IV Air

V Rigaudon

 

LEOS JANACEK (1854-1928)

Sonata

I El Presentimiento

II La Muerte

 

MIJAIL GLINKA (1804-1857) –MILI BALAKIREV(1836-1910)

La Alondra (Adiós a San Petesburgo)

 

JEAN SIBELIUS (1865-1957)

Romanza en Reb M

 

MANUEL DE FALLA (1876-1946)

Pour le Tombeau de Claude Debussy

 

ISAAC ALBÉNIZ (1860-1909)

Córdoba (España – 6 hojas de álbum)

 

ENRIQUE GRANADOS (1867-1916)

Valses Poéticos

 

TANGOS AND HABANERAS IN THE SPANISH MUSIC

The encounter of Spaniards with the cultures of the American continent following its discovery was one of the most significant intercultural phenomena of the modern age. The Spaniards took the features of Spanish culture to the Americas, impregnating the indigenous and autochthonous cultures of that unknown universe with it. They carried our language and our songs, which very quickly brought an intercultural contagion and blend to the local songs with those differing idiosyncracies. While they certainly bore our songs, they also returned with the indigenous counterparts of those people, recorded in their hearts and in their memory, infected and infecting themselves mutually in an inevitable process of imitation where the mixture would produce the richness of interculturalism.

PROGRAMME

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From Romanticism to Central European Post-romanticism

Three illustrious Bs shape a program which summarizes one of the periods of the greatest splendor of European music, begun by Beethoven, culminating with Brahms and reflected in the post-romantic consequence of Alban Berg. And threeare the works offered by Marisa Blanes as models in this concert of great historical value and profound musical andpianistic demands.

PROGRAMME

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DIMITRI SHOSTAKOVICH – 24 Preludes and Fugues Op. 87

Tonality abolished or tonality diluted? – this was the dilemma which conditioned twentieth century musical creationDmitri Shostakovich bequeathed us a document of the greatest musical and historical valuethe 24 Preludes and FuguesOpus 87, written for piano between 1950 and 1951 as homage to Johann Sebastian Bachchoosing the path of evolutionand not the crossroads of ruptureWithout foregoing his aesthetic credosShostakovich offers a discourse which issingularly up to date and where tonality and modality are not seen as being in conflict but rather as the adhesive of arenewed discourseranging from the paradigms of historical reason to the new hypotheses of a freely expressive musicallanguage.

Marisa Blanes is the first Spanish pianist to have tackled the recording of this historic documentoffered in concert intwo sessions of the very greatest musical and interpretative value.

 

 

PROGRAMME I

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A salon piano in XIX century Spain

Salon music”, a term bringing together the classical formats of chamber music and the new musical models of thebourgeoisie of the time constituted as much a musical as a social form in nineteenth century Europeits rise clearlydefining some of the romantic traits characterising the timeas conservative as it was revolutionarySpainpoliticallyremote from the new parameters shaping the situation in Europewas not however removed from the space of thosesalons where the beautiful world of the “small form” was being wovenalthough the country was beyond the reach of thesymphony or the “large form”.

This concert offered by the pianist Marisa Blanes reflects the course music followed in Spain throughout that centurysomewhat aside from that of the revolutionary Europe at its beginningsprogressively joining its controversy from the finalthird of that secular adventure.

PROGRAMME

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The XX century Spanish piano

The Iberia Suite with which Isaac Albéniz stunned the world at the beginning of the twentieth century meant Spainsdefinitive aesthetic inclusion in EuropeAt almost the same timeManuel de Falla composed his 4 piezas españolasandsince thenSpanish piano creativity underwent an unprecedented development throughout the twentieth centuryThe countrys piano repertoirearticulated during the course of the century is as extensive as it is intense.

Marisa Blanes offers an overview of Spanish pianistic creation during that time in two clearly differentiated partsfrom thebeginning of the century until 1950 and from that year until the centurys endestablishing not just chronological but alsoaesthetic and stylistic differences.

The twentieth century Spanish piano – PROGRAMME I. 1900-1950

ISAAC ALBÉNIZ (1860-1909)

Evocación (Suite Iberia) (1905)

MANUEL DE FALLA (1876-1946)

Cuatro piezas españolas (1906-1909)

Aragonesa – Cubana – Montañesa – Andaluza

JULIÁN BAUTISTA (1901-1961)

Colores (1922)

Blanco – Violeta – Negro

Amarillo – Azul – Rojo

FEDERICO MOMPOU (1983-1987)

Diálogos (1923)

Plaintif – Moderé

OSCAR ESPLÁ (1886-1976)

Cantos de antaño (1930)

Danse – Berceuse – Tarana

ERNESTO HALFFTER (1905-1989)

Espagnolade (1937)

JOAQUÍN RODRIGO (1901-1999)

À l’ombre de Torre Bermeja (1945)

XAVIER MONTSLVATGE (1912-2002)

Divagación (1950)

The twentieth century Spanish piano – PROGRAMA II. 1950-2000

ANTÓN GARCÍA ABRIL (1933)

Sonatina (1954)

AMANDO BLANQUER (1935-2005)

Variaciones para piano (1963)

CARMELO A. BERNAOLA (1929-2002)

Morfología sonora (1967)

BENET CASABLANCAS (1956)

2 Pieces per a piano (1978)

TOMÁS MARCO (1942)

Soleá (1982)

CRISTÓBAL HALFFTER (1930)

El ser humano muere solo cuando le olvidan (1987/93)

MAURICIO SOTELO (1961)

Cadencia (1994)

CLAUDIO PRIETO (1934)

Meditación (1995)

JOSÉ MARÍA SÁNCHEZ VERDÚ (1968)

Como un soplo de luz y calor (1999)

JOSÉ EVANGELISTA (1943)

Nuevas monodias españolas (2000)

The XXI century Spanish piano

Despite the vast extent and quality of the development of the piano literature throughout Historythe instrumentcontinues to be key to the task of compositionClear evidence in seen in this programme of first performances of worksby Spanish composersalready in the twentyfirst centuryfrom a number of generationsSeven piano pieces in allcompletely newbrought to light thanks to the talent of their composers but also to the work and dedication of MarisaBlaneswho is able to clear the way through very different techniques and aestheticsplacing her skill and capacity atthe service of twentyfirst century Spanish creationA panorama here making clear its powerits variety and the flood ofcreativity and sensitivity demonstrated at this time by composition in Spain.

 

PROGRAMME

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LUDWIG VAN BEETHOVEN: The complete Sonatas for violin and piano

Ludwig van Beethoven’s Sonatas for violin and piano represent one of the peaks of classical music, very particularly in the context of the period of Viennese classicism led by Haydn, Mozart and Beethoven when the eighteenth and nineteenth centuries met, and where Sonata form constituted a watershed in the field of universal musical creation. The set of 10 Sonatas is offered in four concerts in a true chamber confluence, with the Bulgarian-Austrian violinist Mario Hosssen and the Spanish pianist Marisa Blanes in the principal roles.

PROGRAMME I

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WOLFGANG VON GOETHE’S BALLADE OF MIGNON

The ballade Goethe puts in the mouth of the girl “Mignon”, Kennst du das Land, wo die Zitronen blühn?… (Do you know the land where the lemon trees bloom?…) in his novel “Wilhelm Meister’s Apprenticeship” is one of the most moving poetic narrations ever written. Mignon, born in Italy, was abducted by vagabonds and taken to Germany. While held, she was forced to sing and dance in a travelling variety company. In her solitude and melancholy, Mignon yearns for her country, Italy, and sings the fantasy of its landscapes.

Goethe’s poem stimulated the creativity of many composers of his time, and other times, not just German-speaking composers drawn by the beauty of the poem, but also creators in other countries such as Poland, Russia, Spain and France, writing in their languages.

A selection is offered here of 12 masterly songs for a poetry of genius, in a subtly studied interpretation by two exceptional artists: mezzosoprano Marina Rodríguez Cusí and pianist Marisa Blanes.

 

PROGRAMME

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