Number of videos: 529
Fernando Ferandiere was one of the most multifaceted musicians of the late-eighteenth century. After publishing his treatise Arte de tocar la guitarra por música (1799) he gained great notoriety as a guitarist. The recent discovery of an unpublished collections of scores has led to the recovery of some of his works, such as this duo of a galant style, composed in 1801, the only part of which was known previously was that for the violin.
The Wagnerian universe is condensed on Stefan Mickisch’s piano. Mickisch is the composer of this Improvised Fantasy on Das Rheingold. The opera’s Leitmotiven are intertwined in the hands of the pianist, who resorts to a technique commonly used during the nineteenth century to create a work featuring virtuosity and the evocation of well-known motives, which thus take on a new meaning.
The beginning of the twentieth century bore witness to a revolution in string-quartet writing. Jorge Fernández Guerra presents Stravinsky’s Three Pieces for String Quartet (the epitome of Neoclassicism), Alban Berg’s Lyric Suite (with its cryptic love messages) and Bartók’s String Quartet No. 3 (an example of purified formal architecture), together with the Livre pour quatuor, a composition on which Pierre Boulez worked for decades.
Inspired by the exoticism that characterises this harpsichord suite by Jean-Philippe Rameau, Mahan Esfahani gives a performance of the work highlighting the musical clichés that are hidden behind the titles of its different movements. The Iranian-born harpsichordist shows that headings like “L'indifférente”, “La poule”, “Les sauvages” and “L'egyptienne” are not only mere indications of character, but actual programmatic descriptions over which to construct an original performative discourse.
Trained at Musikene and the Kunstuniversität Graz, Francisco José Domínguez composed his Tres nocturnos (Three Nocturnes) for accordion in 2014. This work, a prizewinner at the Francisco Escudero International Composition Competition, is divided into three sections. The first is characterised by a rapid succession of notes that lead to a granulated texture. The second alternates this tension with more melodic segments, while the latter predominate in the third section of the piece.