Number of videos: 486
At the beginning of the 1930s, a constellation of artists consisting of García Lorca, Rivas Cherif, Gustavo Pittaluga, La Argentinita and Alberto Sánchez created a work destined to revolutionise Spanish dance: La romería de los cornudos. With a storyline of popular origin and orgiastic overtones, this ballet combines traditional and avant-garde elements. In this production —the first incursion into the world of ballet in the Chamber Music Theatre format— Alberto’s original sceneography, preserved in the Museo Nacional Centro de Arte Reina Sofía (MNCARS) is reproduced to scale.
Mendelssohn and Schumann conceived some of the most influential string quartets in history during the mid-nineteenth century, still guided by Beethoven’s works. In this presentation, Eva Sandoval introduces Mendelssohn’s String Quartet in E minor, Op. 44 No. 2 (modelled on the Classical quartets of Haydn, Mozart and Beethoven) and Schumann’s String Quartet in A minor, Op. 41 No. 1, written “according to the rules of the quartet”.
On 25 January 1978, the Salón de Actos at the Fundación Juan March was the scene of the premiere of Edgar Varèse’s Ionisation (1930) in Spain. On the eve of the 40th anniversary of that concert, Percusiones del CSMA once again performs Varèse’s work together with Rítmicas (1930), by the Cuban composer Amadeo Roldán, and the Spanish premiere of the Estudio en forma de preludio y fuga para 37 instrumentos (1934), by the Spanish-born Cuban composer José Ardévol.
Celsa the Foolish, accused of fratricide by Talemundo, faces a popular trial. Her defence is based on announcing the arrival of a dashing knight who is coming to save her and who, effectively, appears wearing tin armour. After numerous episodes, the knight reveals his identity: he is Lorencín, who comes from the Order of the Petróleo Gal. This is the plot to one of the masterpieces written by the librettist Salvador Granés and the composer Luis Arnedo, Lorencín, o el caballero del cine, a hilarious parody of Lohengrin that ridicules the magnificence and transcendentalism of Wagner’s original.
Like many listeners of his time, Goethe conceived the string quartet as a rational conversation between four intelligent people. To a large extent, this idea is embodied in works like Haydn’s String Quartets, Op. 33, which revolutionised the string-quartet genre. Following suit, Mozart would take three years to compose six quartets that he dedicated to his friend Haydn. For his part, Ignaz Pleyel, Haydn’s pupil, managed to disseminate his quartets very successfully all over Europe.
Salvador Bacarisse was one of the most outstanding composers of the Second Republic. Musical director of Unión Radio, after the Civil War he had to go into exile in Paris, where he lived until his death. In the French capital he composed pieces like Andante Malinconico, Hommage funèbre Op. 123 no. 2 and the Cinc petits interludes pour piano, originally conceived for a radio program about the exiled poet Juan Arroquín.
In a few short years, the quartet became the backbone of modern musical creation, and early-nineteenth century Vienna witnessed how Beethoven and Schubert took the genre to its formal and expressive limits. In this presentation, Luis Gago spells out certain compositional features that question the Classical ideal of the quartet as a conversation between four reasonable people and presents the keys to listening to Beethoven’s String Quartet No. 11 in F minor, Op. 95, the “Serioso” and Schubert’s String Quartet No. 14 in D minor, D 810, “Death and the Maiden”.
Julián Bautista composed the suite Colores between 1921 and 1922. The Impressionist language inherited from Debussy and Russian pianism is reflected in a work made up of six movements, in which the composer subjectively evokes the effects of the colours white, violet, black, blue, yellow and orange on him. Here, the performance is accompanied by a lighting design.