The other day I attended in the ancient Cuartel del Conde-Duque, now Contemporánea Condeduque, an occasional concert by those who, like your girls, have nothing more than good music. Pertenecía al cycle km 0 which the Fundación Ibermúsica dedicates to national talents. Both artists and composers, as these concerts encompass the scope of the Fundación’s commitment. The protagonists were cellist Guillem Gràcia (Barcelona, 2005) and composer Joan Magrané (Reus, 1988).
Young Gràcia is an exceptional musician. His technical prowess is emphasized by the same method, but also by the range of musicality that the large technical space allows him. All of them without exception: well-honed, smooth, clear, brilliant and, when it is, fast. It is noteworthy that además, les da vita, ambién sin exception. Every note by Guillem Gràcia is connected with our word with its own musical loadwhether by color, skill in the form of an attack, particularity in articulation or the fluidity with which it integrates expressively into a sentence or before into a gesture.
The feeling you have is perfection, that is the rose; or, better, from necessity, as it was necessary for one of these little gems to fall, as the universe lost in its order without this ornament, this timbre guiño or this good articulación. I’m probably exaggerating because I load and load with hyperbole in what follows, but I don’t think much of it. In any case, I recommend everyone to verify with their own eyes and in a critical spirit that Guillem Gràcia is something special and I am dying to be inspired by the enthusiasm: Rádio Clásica captured this concert and will broadcast it next April 18.
What is indisputable is that, special or not as a cellist, he is a great programmer. Tomó as a starting point You are a solo cello player by Kaija Saaria, we chose you from them Once caprichos de Dall’Abaco, who continued the imaginary polyphony of Bach’s suites, and I asked them to Joan Magrané, who would concretize the assignment in You are posthuman. Then, Gracia I played these three songs in the form of an interview on six stages: introducing the seventh and alternating authors, since it was the tertulianos who succeeded in using the word.
He seems to represent Saaria in his work through music, not the sound of the seafarers, “whom I separate, living and flying in silence,” to their movement; create mariposas, not pintándoles, exculpiéndoles or bailándoles, sino sonandolas; and he does it as usual in everything in music: with great efficiency. The cool, northern warmth is a fruitful contradiction to explain this expressiveness of this Finnish composer’s art. The beating of wings appears several times in many musical formulas.
Sometimes aleteos come freehand, with trines and tremolos. Others from behind with distinctive bow shots. In addition, Saariaho returns here at one time or another in the unusual way of passing the bow through the cuerda – more than usual, on keywith a sweet or lower result, on the bridgewith harsh effect, sometimes purely harsh― but you don’t seem to care about these colors in one, until the entrance and the way up, which in the score feels drawn out and precisely meditated. Not if you’re looking for clairvoyance ―ahora mustnot now―, down to the process, the dramaturgy, the journey from the sound to the wrong place and back.
El primoro de los You are postludes for solo celloexternal work by Joan Magrané, empieza: ¡sol sol!, which in German and English solfeo reads: ¡GG!, cellist’s initials. They are delicate pieces, enriched, each in its own way, with a poetic feeling. Revelan strong musical imagination and we can say realistic: a lot of attention to the look, the sound, the soloist and us.
An example global author Guillem Gràcia Despite all aspects of this pleasant term, it is the sixth part of the conversation: I see a type clenched You can tell by hand that you don’t have to hide the keys until you just hit them gently, thus defeating the two extremes. Además del sonido, quien aletea y se vuelve mariposa es hora la propia hand. Gràcia extends this particular color by interpreting in pizzicato the corresponding capricho from Dall’Abaco and subordinating the sequence, cases clenchedfrom the violent sentence finals, comes the arch, from the sexto postlude de Magrané. So if we are together in six rounds, but as we said before, we will meet equal opponents in the others.
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