On Jackdaws…

It has been a long while since my last post. And not because I wouldn’t find material to discuss through… but as I suppose it’s a familiar feeling for everyone nowadays, once we are in the non-stop busy life train, it does take quite a while until we jump off the next station and find the moment to breath and move on; even the time to write.

Jackdaws

Going to Jackdaws last weekend to play for the Singing in Spanish master class lectured together with Jorge Carrasco has been not just a wonderful musical experience, but also a moment to enjoy, reflect, think and breathe away from London’s city life. Indeed, Jackdaws, (Frome), is a lovely place surrounded by woods and a lake, away from cars and noise: Only about 60 stone houses and among them there is Jackdaws, the musical fortress.

Still today I’m impressed about the commitment and passion I found in the participants of the course, almost all of them amateur singers. Their love and joy towards music showed us the real essence of what music making means. Besides, their endless curiosity about the Spanish repertoire was absolutely fascinating and stimulating.

In fact, it was a beautiful and enriching experience trying to transmit not only notions about phonetics, diction, singing or general music concepts, but a whole cultural heritage, a distinct musical idiosyncrasy.

Some of the participants and tutors before departure

I have to admit exhaustion by the end of each day. But both Jorge and I had broad smiles when we were walking back “home” to Jim at Jody’s; our torches on, no electric lighting on the way, but a sky full of stars above us.

OH! I couldn’t forgive myself if I wouldn’t mention the exceptional food our cook Alex prepared us everyday! Not only her food was exquisite, but she made us feel always home! The same as Jim and Jody who also managed to come along and support the singers in their final concert. And obviously Saffron van Zwanenberg, the Artisctic Director. To all of you, thank you!

Jorge and Maite

I wish you a very HAPPY NEW YEAR full of

            LOVE, PEACE and MUSIC!

 - as I once heard Al Foster saying!

That all your wishes come true!

Maite

Barcelona 9th January at the Auditori Theater with

Ana Puche Rosado (soprano), Anna Alás (mezzo), Silvia Bartés (artistic director) and myself… Cabaret Songs with music of Britten, Montsalvatge, Lehar, Poulenc, Menotti and Irving!

Looking forward to seeing you there!

For more details click the link below:

http://www.auditori.com/seccions/programacio/fitxa.aspx?idconcert=1464&cicle_id=

Acerca del Muro de Berlín…

 Hoy ha sido un día muy especial para Alemania y el resto del mundo. Hoy se ha celebrado el 20 aniversario de la caída del Muro de Berlín. Un día como hoy miles de Alemanes empezaron a soñar de nuevo con un futuro mejor.

Como en otras ocasiones, la música acompaña momentos tan relevantes de nuestra historia, y a su vez estos momentos musicales se convierten así mismos en Historia. Me refiero al concierto que tuvo lugar el día de Navidad de 1989. Tan sólo unas semanas después de la caída del muro, este concierto quiso ser un homenaje y un canto a la libertad. No en vano el propio Leonard Bernstein escogió sustituir Freude (alegría) por Freiheit (libertad) en una de las mejores versiones hasta ahora escuchadas de la 9ª Sinfonía de Beethoven. Estoy segura de que Schiller aprobó este cambio de buen grado.

Con una orquesta de excepción compuesta por músicos provenientes del Reino Unido, Estados Unidos, Alemania, Francia y la Antigua Unión Siviética y con unos solistas incomparables, este elenco de artistas cantó a la libertad y reunificación de una nación rota desde hacía mucho tiempo.

He tenido el honor y  privilegio de hablar con Sarah Walker al respecto, de cómo vivió ella esos días de celebración en Berlín y de lo que supuso cantar la 9ª en ese contexto. “Emocionante. Después de pasar por el hotel, fuimos hasta el Muro, estaba abarrotado de gente y de estudiantes que vendían los trozos de Muro pintado de graffiti a los turistas. Me traje muchos pedazos de Muro que regalé a amigos, pero yo aún conservo cuatro”. “ Sin duda fue una decisión maravillosa cantar a la libertad aquel día. Fue un concierto emotivo, magnífico en todos los sentidos, con unos músicos excepcionales”. Sin embargo, Sarah no puede evitar lamentar de alguna manera su condición de artista durante aquellos días, puesto que no pudo disfrutar de todas las celebraciones, y de “estar en la calle” hasta pasada la mañana de Navidad. Y apunta, “el recuerdo más hermoso que tengo, es haber sido parte de esa enorme cantidad de gente que paseaba por Unter den Linden y a través de la Puerta de Brandenburgo en un espléndido y soleado día de invierno.”

Desde aquí, felicidades a todos los Alemanes y un abrazo fuerte y toda mi gratitud a Sarah por tener la generosidad de compartir sus recuerdos conmigo.

 

Unter den Linden-Photo by Sarah Walker

On performers versus? academicians…

 Some days ago we had the great pleasure and honour of having Graham Johnson presenting his new book on Faure at the GSMD. Followed by a superb small concert, he held one of the best speeches I have ever heard, with a natural, consistent and articulated train of thoughts. In fact, one of the things that have remained spinning in my head since is precisely one of his reflections related to research and performing praxis.

In fact, research is frequently and wrongly considered a “musicologist’s” task, as if the performer wouldn’t be interested in such matters or in an extreme case shouldn’t be bothered with them. [On the other hand, and perhaps the reason of another forthcoming post, there is also a misunderstanding within some aspects of the music-academic field, when often the research on music leaves music and performance entirely a side.]

Unfortunately there is now a days an invisible but palpable boundary between performers and musicologists, as if both things were completely different from each other instead of being related to each other as they are.  

Not in vain, it is quiet common among some musicians to discuss whether it makes a difference from the practical fact of performing, to have a certain knowledge about the piece or the composer or not. With a touch of sarcasm this “academic stuff” is  often dismissed because it “won’t help me playing better”. Referred to these matters, Graham’s wise words were not trying to convince anyone that knowing when the composer X was born would help anyone to play his music better. Instead, he turned the question around, and made the audience look into it from a different angle:  what kind of performers are the ones that spend hours, weeks, months or even years of their lives playing music of someone they don’t know anything about?

Twisting the question that way just made me aware that research should be considered neither an end in itself, nor as a means to an end, but as a natural consequence of our dedication, passion and love towards what we do, MUSIC.

Graham’s book Gabriel Fauré: The songs and their poets,  is a tangible proof to this.

On Dorking Ladies…

Yesterday I had the occasion to meet 8 of the members of the Dorking Choir. The Dorking Ladies where about to perform in the Leith Hill Choirs Unleashed, in Dorking Halls. I have to say that it was a great experience and that I had so much fun with them. There is undoubtedly a special atmosphere in a choir, in a vocal group. I can’t even describe it, but it somehow feels so right and so warm.

 

I suppose that the reason for that is that a part from very seldom choirs, or choirs in an opera house, most of these ensembles are formed by devoted amateur musicians. And this and only this brings a real commitment and enthusiasm to the ensemble and to the music. Sometimes, we, the professionals forget so many things related with the pure essence of music making and the joy of it that being immersed for a day with the Dorking Ladies was a renewing and inspiring experience. Indeed it has brought to me an extra dose of energy and honesty towards music making.

I love when I find these little turning points in life, when suddenly someone or something makes me aware of a different perspective and allows me to go on with a broader smile though life. 

On Goerner…

Fantastic. That is the word. Nelson Goerner’s recital today at Wigmore Hall was just outstanding.

The programme, an entire Chopin recital, began with the Polonaise-Fantasie in A flat Op.61. From the opening bars it was clear that the piece was carefully and thoughtfully shaped in Goerner’s mind, and that way it all flew naturally in one honest and pure line. This is particularly difficult regarding that it is the longest  composition  by Chopin written in one movement.

The two nocturnes Op. 62 were played with extremely sensititivity and his total control of sound provided some unforgettable moments. (By the way, also unforgettable was the woman with a blue suit that was doing a terrible noise with her shoes… ALL THE TIME …as a pedal note to Nelson’s music..)

The first half was closed with the Andante spianato and Grande Polonaise Op.22. Especially the second one had a fresh dancing sound that made this piece be alive and brilliant.

After the interval this Argentinean pianist played the Twelve Studies Op. 10. Undoubtedly one of the most difficult set of pieces ever written for piano, they sounded easy and just beautiful under Goerner’s hands. The structure he decided to give to the Opus as a whole was very tasteful. Number 4 was ravishing and 9 just made my heart melt. The last etude of the group was a perfect ending for this thrilling concert where Goerner showed not just completely mastery on the piano but a very bright and inspiring musicality that made the recital be wonderful.

After shaking hands with him backstage and exchanging some words with hi, [in Spanish;) ] I just can add that all the honesty he displays on the keyboard is reflect of his warm and lovely personality that made the evening end perfectly.

At least, but not last, today the Wigmore Hall has gained an extra Brownie point now that I have discovered their AMAZING… carrot cake !!! I wholeheartedly recommend you both,  Nelson Goerner and Wigmore’s carrot cake.

On memories…

Not just memories, but good ones. Mostly everyone has a favourite song, o piece of music that reminds him about a special moment. Like travelling backwards in time, often music acts like a white screen where our memories get projected helping them to be alive once and again. A wonder of our powerful brain, listening to this or that music makes us recall a person, a place, a situation, a feeling …

Well, the four tracks added now in the Audio section, four delicious pieces by Montsalvatge and Guridi sung ravishingly by Anna Alás i Jové with me at the piano, mean to me all what I have described above.

Indeed, this set of pieces, together with some other Shostakovich and Dvorak, bounded together a programme called Abanico de Canciones that both Anna and I toured throughout Spain already two years ago. Many things happened in this tour, many towns that I didn’t know before and discovered thanks to those pieces, and especially many moments of extremely high musical and personal commitment I lived with Anna during that days.

Inevitably, listening to these songs again brings all these beautiful memories back to me and I can’t listen to them without smiling. Even now that I have recently played the Monstalvatge again, I feel that somehow they will always be attached to that tour and to Anna.

Fortunately I´m going to meet Anna soon again for our next project, Cabaret, together with Ana Puche Rosado and that way we will continue building beautiful memories together.

 By the way, these songs mean now as well the musical symbol of a strong friendship.

On Alicia…

It is difficult to write something else on Alicia de Larrocha, undoubtedly one of the best Spanish pianists of the last century. Nevertheless, it would be unforgettable from my side if I wouldn’t dedicate few lines to her now that she is gone.

Following the thread on what I posted yesterday, her recordings are now what it’s left of her magic. Her subtle touch and grace made her sound always be fresh and with a halo of eternal youth. Her interpretations always fine and exquisit specially detailed in her Mozart concertos and always fresh and alive in all her Spanish interpretations. Her rubato in Chopin is one the purest, with a very sensitive cantabile line that makes our heart melt and surrender to the beauty of her finesse.

Especially remarkable and one of my favourites recordings ever, is her version of Suite Iberia by Albéniz, one of the hardest pieces ever written for piano. Alicia’s interpretation, even if not the only one, is always going to be the reference. Actually, she, Alicia de Larrocha herself has been and is the reference for generations of Spanish pianists, and still generations to come. 

We weill never forget you.

On live music…

It is impossible to capture in a tape all the excitement or the nuances and colours that both performers and audience feel during a live performance. I guess that’s the reason why,  in an era when everything is recorded, people still go to concerts.

Nevertheless, recordings are a wonderful tool to bring to live a moment, an instant that if it wasn’t for the tapes and CDs, would vanish in the air… flow and never return entirely to us; only recreated again in our memory but just as a shadow of what it was and doesn’t exist anymore. Indeed, music is the ephemeral art par exelance.

But alas! modern times! I have today received the CD of the Gold Medal concert that took place last May at the Barbican Hall, where I had the opportunity to accompany the Portuguese soprano Susana Gaspar. I have uploaded these files, and now that I finally (!!!) know how to do it, I promise to keep this site up to date.

With this, today I invite you all to recreate that moment so special for both of us that night in the Barbican. Songs by Duparc, Schubert, Mahler and Rachmaninov, that you can hear in the AUDIO (http://maiteaguirre.wordpress.com/audio/) section of this website.

I hope you enjoy them!