We have before us a new year of Festival Focus, a didactic and well-planned initiative created by the National Orchestra and Choir, an organization under the direction of Félix Palomer. In this case, the study of the personality and work of the series is oriented Spanish composers in exile who spent most of their days in Spanish America.
It is necessary to restore, highlight, record some of these women who became the protagonists of a phenomenon that we now recognize and admit was historical. PUSH civil war and the subsequent clear dictation aggravated this situation and appealed to many of them double destierro: external exile (in most cases forced) and internal exile marked by silence, marginality and repression.
At this evocative festival, musicologist Elena Torres Clemente stands behind the busy committee, restore the voice and memory of the women of this pilgrim España. All this can be verified and analyzed through the five programmed concerts, two in the Sinfónica Hall of the National Auditorium and three within the March Fundación, linked from the beginning to these interesting and heralded initiatives.
On February 13, the museum will be inaugurated with a concert by the National Orchestra conducted by Carlos Miguel Prieto, sobrino-nieto of Maria Teresa Prietoone of the most exiled to be there Sinfonia cantabile from 1954, a work of great orchestral influence.
In style I said what it is a mix of Spanish tradition and Mexican symphonyabout adopting countries. We’ll try it out in this session where it’s also very short Suite for orchestra Rosity García Ascot, the only female member of Grupo de los Ocho (Ernesto y Rodolfo Halffter, Salvador Bacarisse, Gustavo Pittaluga…).
Programmed, rebuilt work does little, allowing you to appreciate the sophistication of your style. The concert is ended by the mighty Indian Symphony de Carlos Chávez, an energetic and changing suite Redes de Silvestre Revueltas, contagious Huapango de José Pablo Moncayo y Antropolis Gabriela Ortizová, a disciple of Chávez, capable of combining tradition and the avant-garde.
The second symphony performance, on March 13, will invite three more creators. La primera, la barcelonesa Montserrat Campanywho lived on horseback between Spain and Argentina, where he was exiled and incorporated into his musical life. She was the first woman to join the National Music Society.
“Songs of exile that evoke in the bedroom the past that finally begins to emerge quietly” Miguel Ángel Marín
You can listen to it at the Focus concert Symphonic vision from 1929, a good experimental score that was played in Barcelona Pau Casals.
We are in the sequel before the figure of the most famous of us, Maria Rodrigowho has the honorary title to have the right the first woman to stage an opera in our country. The work was remarkably quiet for decades. If it recovers suite symphony Stay infantilein which the iconic and refined language shines, not exempt from German influences (one might say a little Wagnerian).
María de Pablos lock the female triumvirate sitting up Hello truth from 1927, a concise page with a melancholy touch, very attractive and polite classicism. She was in 1928, the first woman received a seat at the Academy of Fine Arts in Rome.
There is enough knowledge about her life history: she was admitted to a psychiatric sanatorium in the 1940s. He was 86 when he died in 1990. Este Hello truth look for a gig that is both attractive and exciting Estate Suite Alberto Ginastera and Fandangos from Roberto Sierra, concluding the program of the most attractive, which will be conducted in the timbres of the choir and the National Orchestra on this occasion for Francisco Valero-Terribasyoung master, in upward progression, former graduate of Bernard Haitink.
As we said, the Juan March Fundación Auditorium will host three of these quotes on April 15, 22 and 29. The first program carried by a pianist Noelia Rodiles he approaches the works of Mexican musicians close to neoclassical languages with the counterpoint of Domenico Scarlatti’s sonatas.
Music and words intertwine in the second concert. Songs of María Rodrigo interpreted by soprano Luciana Mancini and pianist Aurelio Viribay, similar to the music of the time. We will be surprised by the songs of Elena Romero, Matilde Salvador, Emiliana de Zubeldía, Modesta Bor and María Grever.
The OCNE cycle concludes with a summary of what we might call Geography of Exile in relation to countries such as Argentina, Uruguay and Mexico and to the music of other creators such as Francisco Madriguera or Conchita Badía. “Songs of exile that, in the intimacy of a room, evoke a past that finally begins to emerge from the silence,” says Miguel Ángel Marín, director of the fundación’s music program.
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