tag:blogger.com,1999:blog-63587301162022160922024-03-06T00:25:17.678+00:00Agustín Fernández, composerA revamped website including this blog and its adjuncts will migrate to a different platform. To ensure continued access please use the domain address, agustinfernandez.com, rather than the individual Blogger addresses.
Un sitio renovado incluidos este blog y sus adjuntos migrará a una plataforma distinta. Para asegurar el acceso ininterrumpido se sugiere usar la dirección del dominio, agustinfernandez.com, y no las direcciones individuales de Blogger.Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.comBlogger72125tag:blogger.com,1999:blog-6358730116202216092.post-60166304012697058782023-03-24T12:19:00.003+00:002023-03-25T01:23:00.839+00:00Aviso de migración / notice of migration<p> </p><p><span style="font-size: medium;"><span style="font-family: helvetica;">This blog is being moved to another server. In its current state it will remain in this address (fernandezmusic.blogspot.com) but it will no longer be updated. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">To access the new blog go to agustinfernandez.com. There you will find the same contents as here and any future entries. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">We expect the new pages to be working from Monday 27 March 2023. </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">In this transitional period if you need to contact Agustín Fernández please use agustinfernandez@me.com. </span></span><span style="font-size: medium;"><span style="font-family: helvetica;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Thank you for your forbearance. <br /></span></span></p><p><span style="font-family: helvetica; font-size: medium;">---------</span><br /></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Este blog se
está trasladando a otro servidor. En su estado actual permanecerá en
esta dirección (fernandezmusic.blogspot.com), pero ya no será
actualizado.</span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Para
acceder al blog nuevo digite agustinfernandez.com. Allí encontrará el mismo contenido y, de ahí en adelante,
aportes nuevos. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Prevemos que las nuevas páginas entren en acción el lunes 27 de marzo de 2023.</span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">En este periodo de transición si necesita contactarse con Agustín Fernández favor usar agustinfernandez@me.com. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Gracias por su paciencia. <br /></span></span></p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-25954994683586287372023-02-24T15:08:00.010+00:002023-03-03T14:45:53.622+00:00Remembering "Montes"<p>
</p><p class="MsoNormal"><span style="font-family: helvetica;">“Montes” is, of course, the title of my String Quartet No.
1. But, more importantly, it is the surname of the great painter to whom the
quartet is an homage, <a href="http://www.fernandomontes.co.uk/theartist.html">Fernando Montes</a> (1930-2007). </span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal"><span style="font-family: helvetica;">There is a post somewhere in this blog about that musical
work and the paintings each of its movements is based on. I refrain from giving
the link here since the migration of this blog to a new website is now imminent
and I prefer to avoid saddling this text with a broken link. </span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal"><span style="font-family: helvetica;">Recently the Americas Society posted a remembrance of the work’s
New York première (the world première had been in Philadelphia in the presence of the painter's widow). I am pleased to provide a link for that (see video). The work of the splendid players of the Momenta Quartet
deserves exposure. </span></p><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><p class="MsoNormal"><span style="font-family: helvetica;"><i>Correction: on quick inspection I find no previous post where I specify the correspondence between Montes's paintings and the three movements of the Quartet. They are: 1. City of Silence, 2. The Gate of the Moon, 3. Music and Land. You can find other information on this String Quartet's past by clicking on the "Fernando Montes" tag. </i><br /></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r_R3Tcqd04k" width="320" youtube-src-id="r_R3Tcqd04k"></iframe></div><br /><p class="MsoNormal"><span style="font-family: helvetica;">"Montes" es, claro está, el título de mi Cuarteto de cuerdas No. 1. Pero, más importante que eso, Montes es el apellido del gran pintor a quien la obra musical rinde homenaje, <a href="http://www.fernandomontes.co.uk/" target="_blank">Fernando Montes</a> (1930-2007).</span></p><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><p class="MsoNormal"><span style="font-family: helvetica;">Hay un artículo en alguna parte de este blog que trata de esa obra musical y de las pinturas de Montes sobre las que cada uno de los movimientos del Cuarteto está basado. Me abstengo de poner el enlace aquí ya que la migración de este blog a un nuevo sitio de internet es inminente y no quiero dejar esta página con un enlace roto. </span></p><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><p class="MsoNormal"><span style="font-family: helvetica;">Hace poco la Sociedad de las Américas de Nueva York publicó una remembranza del estreno neoyorquino del Cuarteto (el estreno absoluto fue en Filadelfia y contó con la presencia de la viuda del pintor). Para eso sí me place proporcionar el enlace (ver video). El trabajo de los espléndidos ejecutantes del Cuarteto Momenta merece difusión. </span></p><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><p class="MsoNormal"><span style="font-family: helvetica;"><i>Corrección: haciendo un repaso rápido no encuentro un artículo que especifique la correspondencia entre los tres movimientos del Cuarteto y las obras de Montes que los inspiraron. Ellas son 1. Ciudad de silencio, 2. La puerta de la luna, 3. Música y Tierra. Hay, sí, otras informaciones sobre este Cuarteto; las puede encontrar pulsando en la etiqueta "Fernando Montes".</i></span><br /></p>
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{page:WordSection1;}</style><i></i></p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-61105175143152981382022-12-12T01:58:00.031+00:002023-04-03T21:03:33.803+00:00La geografía suena<p>Este comentario ha sido trasladado al blog Commentary / Comentario en mi nuevo sitio agustinfernandez.com. </p><p>Ir a agustinfernandez.com, escoger Blogs en el menú arriba a la derecha y abrir este artículo. </p><p>El enlace directo, si funciona, es <a href="https://agustinfernandez.com/2023/04/03/1329/">La geografía suena – Agustín Fernández (agustinfernandez.com)</a>.</p><p>----</p><p>This piece of commentary has been moved to the blog Commentary / Comentario in the new website agustinfernandez.com. </p><p>Go to agustinfernandez.com, select Blogs from the menu on the top right and open this article. </p><p>The direct link, if it works, is <a href="https://agustinfernandez.com/2023/04/03/1329/">La geografía suena – Agustín Fernández (agustinfernandez.com)</a>.</p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-29370031026049340202022-12-02T02:23:00.014+00:002022-12-15T16:50:21.918+00:00Más Kantu for bassoon and piano - Kantu Kantukantu for solo double bass<p><span style="font-family: helvetica; font-size: medium;">At the request of a friend in Bolivia, I recently composed a piece for bassoon and piano. Its title is <i>Más Kantu.</i></span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">Its predecessor, <i>Kantu Kantukantu </i>(Vienna, 2021) is for solo double bass and was written at the behest of double-bassist James Rapport. This project posed the challenge, for me considerable, of dealing with a solo, mostly monophonic instrument. Not having the interaction between forces that gives chamber music and orchestral music their drive has always been an inhibiting factor for composers like me. I had always shrunk from the challenge of the solo monophonic piece and had admired my colleagues and students in Belfast and Newcastle when they embarked on such a project. </span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">But James Rapport is persuasive, and he caught me in a situation of needing a creative challenge, so I took up the gauntlet. The result is <i>Kantu Kantukantu</i>. This is a piece that explores a playful side of the double bass. Partly because the dark sonorities of the contrabass range seemed to demand it, partly because I was feeling ready for something ludic in 2021, I opted for a divertimento that should be at the same time an affectionate tribute to the Quechua language. </span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">The way it manifested itself in the milieu of my youth, Quechua was the language of warmth, affection and satire. I never mastered the language, but it was always enjoyable to borrow the odd word which would express certain nuances more effectively than any Spanish equivalent. Even more enjoyable to hear older people do it, with their better knowledge of Quechua.</span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">How do you engage with a language in an instrumental piece? Simple: you cheat. Unless you find a better way, you do as I did: you require your instrumentalist to speak or to sing. I required both, demanding of my double-bass player skills he hadn't necessarily acquired in his training and earlier career. Whether by doing so I shirked the challenge of writing for a solo monophonic instrument is a question I will leave to the critics. What I know I succeeded in was making the writing process much more pleasurable than it would otherwise have been. And I am sure that <i>Kantu Kantukantu </i>is a livelier, more engaging piece than it would have been without the words. There is no denying that the onus on the player is heavier as a result, but I have faith that James Rapport will not be the only brave soul to relish the challenge. </span></p><span style="font-family: helvetica; font-size: medium;">
</span><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">Notwithstanding the words and the odd passage of harmony or dialogue between the voice and the instrument, <i>Kantu Kantukantu </i>remains, whatever the critics may say, a monophonic piece. This left two lingering questions that struck me as worth answering. One is fairly obvious: would the musical material stand on its own two feet without the words? The other question may be perhaps less obvious, but, for a monophobic such as I, it is no less intriguing: is the material thus generated inherently monophonic? Or is it susceptible of being treated as one part of a conversation, one layer in a richer texture? These were to be the "research questions" (to borrow from the university jargon I have left behind) for the next piece. </span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;"><i>Más Kantu </i>is for bassoon and piano. Reflecting the increased importance of its subject matter in my life, <i>Más Kantu</i> is based on the same material as the former piece, with the adaptations in range and instrumental technique necessitated to make the new piece function in its new guise. Only occasionally does the bassoon go off in its own new direction, and then it does so briefly and only to a slight extent. The fresh invention is in the piano part, and there invention had to be bridled to preserve the character of the parent composition.</span></p><span style="font-family: helvetica; font-size: medium;">
</span><p><span style="font-family: helvetica; font-size: medium;">I am looking forward to hearing <i>Más Kantu</i> for the first time. Until then, my provisional impression is that it is a drastic, but recognisable transformation of <i>Kantu Kantukantu.</i> The efforts to stay close to the spirit of the parent piece - and, where applicable, to the letter too - have given it a restraint that may well be its distinctive quality. A particular curiosity will be to ascertain to what extent the two pieces are yoked together or can exist independently. </span></p><span style="font-family: helvetica; font-size: medium;">
</span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-40630548029933009622022-03-09T17:02:00.004+00:002022-12-12T00:27:45.498+00:00Pieza orquestal en Bolivia<p><span style="font-family: helvetica;"><span style="font-size: medium;">Aparte del trabajo decidido y asiduo del Trío Apolo, son inusuales las ejecuciones de mi trabajo en Bolivia. Este mes se produce uno de esos eventos inusuales, esta vez en Santa Cruz. Se trata del estreno de <i>Un himno a Northumbria </i>(título original <i>A Northumbrian Anthem</i>) el 11, 12 y 13 de marzo por la Orquesta Sinfónica Juvenil de Santa Cruz, dirigida por Boris Vásquez. <br /></span></span></p><p><span style="font-family: helvetica;"><span style="font-size: medium;">Ver cobertura local de hoy en <i><a href="https://eldeber.com.bo/tendencias/un-especial-homenaje-a-siete-musicos-nacionales_270188">El Deber</a>.</i></span></span></p><p><span style="font-family: helvetica;"><span style="font-size: medium;"><b>NB </b>Las tres ejecuciones de mi obra fueron suspendidas, según se me ha explicado, debido a las objeciones de un grupo de activistas. Oportunamente desmostraré lo errados y mal informados que están. Entretanto se han seguido ejecutando obras mías en EEUU (Sinfónica de Utah), Austria, Chile y Bolivia. </span></span></p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-29127872221791212862021-06-12T16:56:00.003+00:002021-08-19T19:58:29.039+00:00On Diary of Exile<p>
</p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;">Those who were in the habit of following my blog <i>Diary of
Exile </i>will have been either disappointed or relieved to find that it has
been withdrawn from public access. It has not been closed or deleted; it has
been switched from “public” to “invitation-only”. I have volunteered
invitations to a few key people. Others can request access by emailing <a href="mailto:agustin@agustinfernandez.com">agustin@agustinfernandez.com</a>. </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;">The paucity of requests received so far, in contrast with
the unsettlingly high readership stats <i>Diary of Exile </i>was returning
before the switch, suggests a number of explanations, any of which I am happy
with. The most likely is that the majority of erstwhile readers used to come to
the blog out of simple curiosity, and that once the blog was out of easy reach
they directed their interest elsewhere. I know there were some who were
genuinely concerned about my case; I know that because they contacted me
through the blog’s private-comment facility. I can only conjecture that these
readers may have had second thoughts about sending me a request lest their
contact or their access, once given, may become known to others. I doubt
whether reputable blogging platforms would allow that kind of snooping, but I
would understand that concern. </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;">I am also aware of another contingent of readers, those who
read hastily and selectively to extract passages they can use to further
undermine my position. Some of them even egged me on to write more of the kind
of thing, I was later to learn, they wanted me to say to fit the story they
were wanting to tell. I am glad I resisted their urgings, even though, without
the need for them, I did unwittingly give them some material to twist and
distort. Whatever is lost by foregoing a platform on which to bring my plight
to public attention, much is gained by not exposing myself to that kind of
tendentious prurience. </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: helvetica;">In any case, <i>Diary of Exile</i> is not gone for good. It is up and running, and in
due course I may make it public again. For the moment, a more
targeted and discreet approach is called for. My battle is far from over. </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p><span style="font-size: medium;"><style><font size="3"><span style="font-family: helvetica;">@font-face
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{page:WordSection1;}</span></font></style><span><span style="font-family: helvetica;"> <br /></span></span></span></p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-70992866614022677572020-06-08T02:18:00.002+00:002020-11-12T14:48:16.971+00:00A Northumbrian Anthem for brass band<br />
<div class="MsoNormal">
You may think it underwhelming that all I seem to manage these
days is short tuneful pieces and folk arrangements, but there are good reasons
for it, most of them not suitable for a blog of this kind. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is a version for brass band of my own <i>A Northumbrian Anthem
</i>of 2018. I am a novice on this medium, and the mind is still boggling after so much transposition, but after so many years in the Northeast of England it would be something of an omission not to have written at least one short piece. There have been other adjustments too, which may now find their
way back into the organ version.<br />
<br />
Best listen on proper speakers or headphones. </div>
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<br /></div>
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<a href="https://soundcloud.com/agustinfernandez" style="color: #cccccc; text-decoration: none;" target="_blank" title="Agustín Fernández">Agustín Fernández</a> · <a href="https://soundcloud.com/agustinfernandez/a-northumbrian-anthem-brass-band" style="color: #cccccc; text-decoration: none;" target="_blank" title="A Northumbrian Anthem (2020 version for brass band)">A Northumbrian Anthem (2020 version for brass band)</a></div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-38324213571939525072020-04-02T15:06:00.000+00:002020-04-02T15:07:03.546+00:00Updated arrangement<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">And, of course - a little update on a little arrangement. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/787750336&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-78307545052417158162019-10-09T23:25:00.000+00:002020-02-15T19:26:06.065+00:00Ve'ulai: reconstructed arrangement<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/736291402&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">He aquí mi arreglo reconstruido de <i>Ve'ulai</i>, la canción de Yehuda Sharet sobre el célebre poema de Rachel. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Grabación casera de una ejecución del Coro Juvenil de la Orquesta de Gran Canaria y miembros de la Orquesta de Gran Canaria, dirigidos por Marcela Garrón Velarde. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">-------------</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Here is my reconstructed arrangement of <i>Ve'ulai </i>by Rachel and Yehuda Sharet. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Homemade recording of a live performance by Coro Juvenil de la Orquesta de Gran Canaria and members of the Orquesta de Gran Canaria, conducted by Marcela Garrón Velarde. </span><br />
<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-59021300122121513662019-10-02T20:47:00.001+00:002023-03-18T17:58:01.412+00:00Ve'ulai<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QsIDVs1vIfY" width="560"></iframe><br />
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px;">
VE'ULAI</div>
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
Imagine if one could understand Hebrew and if, in addition to the beauty of this voice, of this song and of this arrangement, one could at the same time take in the searing nostalgia of the poem?</div>
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
That would be simply too much – at least for me. Just as well I can't. </div>
<div class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">
<div style="font-family: inherit; margin-bottom: 6px;">
I am, however, reconstructing my own arrangement of Ve’ulai. It is for eight vocal parts and string quartet. It was written for Coral Nova in 1983, sung beautifully by them and then lost. Is losing scores something of a habit, you might ask? I suspect the answer would be of limited interest. Suffice it to say that I did not lose this one, let alone destroy it as I did with <i>Misa de Corpus Christi</i>. I have always cherished this arrangement and, of course, the original song by Yehuda Sharet. </div><div style="font-family: inherit; margin-bottom: 6px;"> </div><div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;"><br /></div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Poem by Rachel<br />
Song by Yehuda Sharet<br />
Sung by Esther Ofarin<br />
Arranged by?<br />
Accompanied by?<br />
(Tut tut, The Orchard Enterprise - but thank you for posting it in the first place.)</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
<br /></div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
<br />
_________</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
VE'ULAI</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
¿Se imaginan poder entender hebreo y, encima de la belleza de esta voz, de esta canción y de este arreglo, poder absorber al mismo tiempo la nostalgia calcinante del poema?</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Eso sería simplemente demasiado – por lo menos para mí; menos mal que no sé hebreo.</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Estoy, sin embargo, reconstruyendo mi propio arreglo de Ve’ulai. Es para ocho partes vocales y cuarteto de cuerda. Lo escribí en 1983 para Coral Nova, quienes lo cantaron estupendamente; luego la partitura se perdió. ¿Es un hábito mío perder partituras, preguntarán? Creo que la respuesta no sería de gran interés. Basta decir que yo no fui yo quien perdió ésta, ni tampoco la destruí como hice con la <i>Misa de Corpus Christi. </i>Siempre le he tenido cariño a este arreglo y, por supuesto, a la canción original de Yehuda Sharet.<br /></div><div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Poema de Rachel<br />
Canción de Yehuda Sharet<br />
Cantada por Esther Ofarin<br />
¿Arreglo de?<br />
¿Acompañamiento de?<br />
(No está bien, The Orchard Enterprise - pero gracias por compartir.)</div>
</div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com2tag:blogger.com,1999:blog-6358730116202216092.post-25831316529891026012019-09-30T19:53:00.007+00:002021-06-30T20:30:52.978+00:00End of an era<p>
</p><p class="MsoNormal"><span style="font-family: helvetica;"><b>End of an era</b></span></p><span style="font-family: helvetica;">
</span><p class="MsoNormal"><span style="font-family: helvetica;"><b> </b></span></p><span style="font-family: helvetica;">
</span><p class="MsoNormal"><span style="font-family: helvetica;">On Friday 6 September 2019 I tendered my resignation, bringing
to an end nearly twenty-five years’ work at Newcastle University, first as
lecturer in what was then called the Music Department, then as senior lecturer,
and then as professor in the by now renamed International Centre for Music
Studies. The resignation was accepted. </span></p><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtyZFr6DTT-rF__Y2Z0zH5k9PyaYnesyxH5F4lqFl2TEpSkt7t5_YQlv_If4i89py3dfeyY-_HHfllvu-tS0myNY4wAWvD3kB5SIyicMXsridj0mjcwTTMKzraVNe2-ikivNTNoGFsHM/s4032/20190906_072903.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtyZFr6DTT-rF__Y2Z0zH5k9PyaYnesyxH5F4lqFl2TEpSkt7t5_YQlv_If4i89py3dfeyY-_HHfllvu-tS0myNY4wAWvD3kB5SIyicMXsridj0mjcwTTMKzraVNe2-ikivNTNoGFsHM/s320/20190906_072903.jpg" width="320" /></a></span></div><span style="font-family: helvetica;"><br /> </span><span style="font-family: helvetica;">
</span><p class="MsoNormal"><span style="font-family: helvetica;"> </span></p><span style="font-family: helvetica;"></span>
<p class="MsoNormal">A quarter of a century’s worth of work could fill a book if recounted
in detail, but that would be a book few would want to read. Suffice it to say
that I worked and, for much of the time, I overworked. One does not leave senior
employment to go on to discuss institutional matters in a blog, so I only offer
here some personal recollections by way of valediction. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Periods of particular frenzy were two: the early years when,
as a youngish sapper, I ran admissions, the Hopkins Studios and the music
technology front, as well as my own discipline of composition and a
contribution to the pool of general music teaching. The other especially
frenzied time was my three-and-a-half years as Head of Music. These were
dramatic in more than one way. The rest of the time was challenging, but not
titanically so. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The number of students I taught in all these years would be
hard to estimate. There were brilliant ones, there were average ones, there
were those who struggled and there were a few difficult ones. It would be
invidious to single any individuals out, but I will allow myself to mention
groups. The Year Two in what was the only available music programme (BA) the
year of my arrival, (1995-6) was a colourful collection of interesting individuals
with whom I developed a special rapport. They welcomed me with warmth and
humour. I still have occasional contact with some of them. As was not uncommon before
tuition fees were imposed, there was a fair smattering of mature students in the
group, and they were among the more interesting personalities. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Over the years, there were two or three absolutely
outstanding composition students to whom I owe many hours of delight reading
through their work and discussing it with them as I followed their progress. I
hope that they will continue to do justice to their potential and, if they
remain in England, I hope that today’s harsh realities will not succeed in
snuffing out their talent.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">There were students on the Folk Degree who filled the air
with music-making of a high calibre; I remember a number of them with
admiration. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">As to my colleagues, what can I say. I learned an awful lot
from them. The most important and influential one of them I must not name. As
the majority of staff in my time, I remain in awe of Richard Middleton. He
transformed the place with his intellect and drive. Within the folk area,
Alistair Anderson showed a similar single-mindedness and transformative power. I
did not always see eye-to-eye with either of them, but admire their dedication
I certainly did. Other than them, to mention only the veterans from my time, I
admired the flair and formidable linguistic ability of Ian Biddle, the
intellectual capacity of David Clarke, the decency and rectitude of Eric Cross,
the musicianship and passion of Bennett Hogg, the rigour and productivity of
Goffredo Plastino, the exquisite wit of Magnus Williamson. Inevitably over a
long period interpersonal relationships fluctuate; much of the time we each got
on with our own thing, leaving each other alone. But I do owe each of these
colleagues, and some of the others, moments of fond warmth and inspiring
conversations, seminars and meetings. There were difficult moments with one or
two of them, but that is not what I take away with me.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Being a sucker for grand old architecture, I enjoyed the Armstrong
Building and having an office overlooking the quad. The King’s Hall was the
venue for numerous concerts I enjoyed as a listener and for other events I
instigated, or played in, or conducted. A particularly fond memory is conducting
the University Orchestra in one of its better ever line-ups in two programmes
of mostly Russian music, including Rachmaninov’s Third Piano Concerto with the
excellent Robert Markham as soloist. My <i>A Northumbrian Anthem</i>, written
for the new Aubertin organ,<i> </i>was to be my most intimate engagement with
this space, as well as a homage to the most important adult in my life, but the
piece was never performed. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">In my last two years I worked with enthusiasm to set up the
interdisciplinary Eastern European and Russian Research Group (EERRG). This
gave me the opportunity to interact with colleagues from other disciplines,
including some brilliant minds and wonderful people such as Robert Dale, Joanne
Sayner, Valentina Feklyunina and others. This also gave me the opportunity to deepen
pre-existing professional relationships with much liked and much admired
personalities Marina Frolova-Walker, Valentina Sandu Dediu and Adrian Pop. I
had ambitious plans for this group and I am sad to have had to leave it in its
infancy, but I am pleased to see signs that it is still up and running. I wish
it much success. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Over these near-twenty-five years I was far from infallible,
but, on the scale of fallibility, I know that I was not among the problem cases.
If that is anything to go by, my inbox, now out of my reach, contains many expressions
of satisfaction or gratitude and few indications of concern. That was also my experience
in the daily interaction with colleagues and students. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">This self-obituary would not be complete if I failed to
mention that, on my arrival in 1995, the Music Department was a small unit,
still recovering from a recent attempt to close it down, having performed
unremarkably at the recent research-assessment exercise. During my time it grew
in size and in performance, raising its standards, becoming one of the most
successful music departments in the country, being selected as a Centre for
Excellence in Teaching and Learning and achieving some of the highest
research-assessment results in the Kingdom. It would be ludicrous for me to
claim any special credit for that, but that I was an active participant in this
growth and this success nobody can truthfully deny. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">There is any number of ways I might have imagined my time at
Newcastle University to come to an end, but not the way it happened. I was
loyal to a fault and conscientious with my work at the expense of my personal
life and my creative career. Countless small hours and weekend hours that
should by rights been family time were spent marking, preparing or doing pressing
admin. Colleagues were always respectful, as I was to them. Aside from the
customary grumblings from a negligible number of dissatisfied souls, I enjoyed
cordial and productive relationships with the students. I will not try to
justify the institution’s handling of my case. As far as I am concerned, I was
put in an untenable position by facing three processes at the same time, one within
the University and two outside. Their progress was uncannily synchronised, with
milestone institutional meetings and hearings almost always coinciding in the same
week as the external ones. When, near the end of my tether, I saw written evidence
that the make-or-break hearing was strongly predetermined against me, and that to
fight that predetermination would take more strength and finance than I could
muster, I had to accept that it was time to resign. I know that I will question
this decision over the years to come, but, writing these lines still reasonably
soon after the events, I hope the view that this was the most sensible course
of action will stand up to retrospective scrutiny. In today’s view, other,
thornier problems would need to be cleared before I attempt to straighten out
unresolved issues with Newcastle University. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
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{page:WordSection1;}</style></span></p>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-40986629002713172072019-08-18T11:12:00.000+00:002020-06-15T20:18:55.742+00:00Yungueñita<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Yungueñita</i>,
on the other hand, is a straight arrangement. "Straight" in the sense
of not having as its primary objective to establish a dialogue between two
musical languages, as is the case with the <i>Beethovenianas bolivianas</i>. In
a wider sense, however, every arrangement is a dialogue between the arranger,
his time and his cultural context, and the composer of the original - whether
known or anonymous - his time and his context. </span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My
own understanding of arranging was transformed radically when I discovered the
work of Percy Grainger. I did so somewhat belatedly. About twenty years ago (I
write this in 2019) my friend, the magnificent all-round musician Alan Fearon,
played me a recording of <i>Shallow Brown. </i>We were in his sitting room in Jesmond Vale, overlooking the Dene, and
I remember being struck by the sea-like texture provided by the guitar
tremolos and by the epic, affirmative responses from the male choir. I knew too
little about the context of the sea shanty and the context of Grainger to give it
much more thought than that. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">About
a decade later, my companion in life experienced something of a
Grainger epiphany. Of course she knew her Grainger already, but something must
have happened to bring it back to her attention. I remember her exhilaration
when she came back to the house having listened to <i>Shepherd’s Hey </i>in her car. She played it again for me and I was thrilled; it was the orchestral
version, conducted by Leopold Stokowski. That launched a period of listening, reading
and talking Percy Grainger. Before long my composition students had to engage
with some Grainger too. Said companion went on to curate a very successful Prom
concert showing the connection between Grainger and specific tunes from the
English repertoire. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Having
immersed yourself in Grainger, arranging could never again be the workaday task
you once did semi-reluctantly, usually on request and as a compromise between your
keenness to have work performed and the performer’s half-hearted commitment to engage with your work – keen enough to play something yours, but not so keen as to
play one of your "proper" pieces. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Grainger
elevated for me the task of arranging a folk tune to a level of the highest order
of creative challenge. Any arrangement to be undertaken from then on would have
to engage not only with the melodic and rhythmic contents, but with the
performance practice of the tune’s time and place, and with its cultural
context. And it would have to do so from a position of respect, affection and
as much knowledge as possible. Daunting. <o:p></o:p></span></div>
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<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I
met these challenges headlong in the next arrangements I wrote after that. The
first was <i>Collier’s Rant </i>which began for six choirs and then had to be
shrunk for four. A quick scan through this blog reveals I did not write about
it at the time; that has to be remedied and I should do it soon. <o:p></o:p></span></div>
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<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The
next was not one, but a series of arrangements for string orchestra commissioned
by Bolivia Clásica, which I refer to as <i>Arreglos bolivianos</i>. Two of them,
<i>Collita </i>and <i>Viva mi patria</i>, are being performed and reproduced
with touching frequency in Bolivia, for example by the television channel ATB during
a ten-day period leading up to the 194<sup>th</sup> Independence Day this year.
I may come back to that project in this blog if I have time. <o:p></o:p></span></div>
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<span style="color: black;">Today’s
post is about <i>Yungueñita</i>, a taquirari – another taquirari, if you
remember that the piece in the last post, <i>Beethovenianas bolivianas No. 1</i>,
is also one. Taquirari is probably the first music I knew, or at least the
first music I remember hearing back in my childhood in Montero. My current
obsession with the genre may have something of a closing of a loop. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This
arrangement, which I finished a few days ago, is for Trío Apolo, Bolivian
friends, based in my native town. They are the ones who commissioned my Trio back
in 2004. They are currently embarked on an ambitious programme of outreach work
and, as part of that, they have asked me to write a number of arrangements. I
understand that they were motivated to approach me about this after hearing <i>Arreglos
bolivianos</i> when Bolivia Clásica did their patriotic project with Jaime Laredo
in 2014. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">It was perhaps wayward of me to give them <i>Beethovenianas bolivianas No. 1 </i>as my first instalment, since, as I hope to have explained in the last post, that is not an arrangement of any known folk tune. <i>Yungueñita </i>is closer to the brief.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Yungueñita</i> closes a loop in more than one sense – not only by virtue of being a taquirari. This arrangement is, in fact, informed by another arrangement, one I wrote around 1978 for Orquesta de Cámara Municipal. I was a member of it at the time, leading the viola section, and I was very much in the position I alluded to above, desperate to have my work performed but finding that the management, although well disposed, was not willing to risk a contemporary work. They suggested a folk arrangement instead, and I gave them <i>Yungueñita.<o:p></o:p></i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The title means "female from Yungas". Strictly speaking that would be <i>yungueña</i>, but there is a very Bolivian diminutive ending which makes the word more personal, more affectionate. Yungas is a semi-tropical region near La Paz, and this song is something of a classic of La Paz folk music. Taquirari, quintessential to the eastern lowlands, is by no means a La Paz genre – even though, strangely, another La Paz classic which I have also arranged, <i>Collita</i>, is a taquirari too. <i>Collita</i>’s lyrics make it clear that the song is a homage to a woman of La Paz by a man from the east of the country. There is no such explanation for <i>Yungueñita. </i>All the lyrics do is reproach her for a change in her loyalties, mentioning in passing that the man singing is black. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I was blissfully ignorant of <i>Yungueñita</i>'s authorship in 1978 and, to my shame, the first few performances had the composer’s credit as Anonymous in the programme. It was after one of the concerts of Orquesta de Cámara Municipal that the manager, Juan Antonio Maldonado, came to tell me that a composer had materialised, that his name was Víctor Hugo Serrano and that he was indignant that he was not being credited – but that he was delighted with the arrangement. It was all settled in a friendly manner.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I do not have access to the score of the 1978 arrangement, but, although forty-one years have elapsed, we played it so often around that time that I remember it reasonably well. The new arrangement for Trío Apolo retrieves the melody of the introduction (not part of Serrano’s tune) and a couple of countermelodies. The rest is new.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Something that was distinctly lacking in the older arrangement was any serious attempt to engage with the rhythmic subtleties of taquirari. I did some detailed exploration on this for <i>Collita </i>and for <i>Pensando en ti</i> (both are in <i>Arreglos bolivianos </i>of 2014). I take the search one step further in <i>Beethovenianas bolivianas No. 1 </i>and, I think, another step in <i>Yungueñita.<o:p></o:p></i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Computer simulation!</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/665722739&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe><br /></span>
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--></span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-31217456191708083852019-07-31T19:57:00.000+00:002019-08-18T12:04:33.278+00:00Beethovenianas bolivianas, No. 1<!--StartFragment-->
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">At this bizarre
conjuncture maybe I should be saying, as Samuel Beckett said to Edna O’Brien
when she asked if he was writing anything: “and what use would it be, anyhow?” What
use, indeed, if he was on his deathbed and if any lines he might pen at that
point could be his last, going nowhere, leading to the completion of no
meaningful work? <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In my case, I am
composing, but not in any sense I might have been at any time before. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The circumstances of the
last year have precluded a proper immersion in creative work. I have remained
productive, first of all in order to fulfil existing commitments, such as <i>LoA
</i>(Sage Gateshead, September 2018) and <i>A Northumbrian Anthem</i> (August
2018). Composing them was difficult, not least in a logistical sense, with no
music keyboard or even of an alphanumeric keypad, which until then had seemed
essential for music notation input. But the effort also helped to sustain me when
things were hard, and to focus on something positive.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">After that, other
pressing challenges - not of a musical kind - absorbed my energies. But it was not possible to defer
composing for very long. Writing music was and is essential to who I am, and to
abandon it for any length of time would endanger my sense of self. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">After some struggle, I found a compromise: I could go on composing by writing shorter, less
demanding pieces in the crevices of time and strength the situation allowed. And, since we
don’t know how long I will be in a position to continue to write music, thoughts have to turn to debts, that is, pieces I had been feeling for some time that
there was a moral imperative to write. That was the case of the choral piece <i>A
Don Franklin</i> (October 2018), a homage to Franklin Anaya Arze which is
intended to rectify an imbalance left by the oft-performed (too oft, I wonder?)
<i>Himno al Instituto Laredo </i>(1979). <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">There are also what
could be termed aesthetic debts to repay. I cannot forget the mission statement
I came up with in a late-night conversation with my eldest sister, Beba, back
in 1970 or 1971. I was twelve or thirteen then, and was in the process of discovering
the classical repertoire after a few years spent playing folk and traditional
music. I told my sister that my ambition was to absorb the technique of the
classical masters to put it at the service of a new folk music. I said words to
the effect that my music would have to be a conversation between the two
traditions. Mind you, I had not heard much twentieth-century music at that
point. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKl0mcYRGDbWIeclhZ9onKNMZnF3VJqXQDEc5X3lC_qshTGN17AzqAE285fSvss2FDnFpH8RrfR0b-6-TDaGw4saYYhBrwfDjXHPaJXUTWhzmcc0dzj2dgnGF98LPzz7PKnQCCVezQ24/s1600/Charango+copy.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1024" data-original-width="802" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKl0mcYRGDbWIeclhZ9onKNMZnF3VJqXQDEc5X3lC_qshTGN17AzqAE285fSvss2FDnFpH8RrfR0b-6-TDaGw4saYYhBrwfDjXHPaJXUTWhzmcc0dzj2dgnGF98LPzz7PKnQCCVezQ24/s320/Charango+copy.jpeg" width="250" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Naïve and juvenile perhaps,
but that manifesto was sincere, and in some important ways I have adhered to it.
There is no denying that my immersion in classical music became total for many
years – as it had to be, given how much there was to learn. But it is equally
undeniable that the “classical” music I wrote throughout the 1970s in Bolivia (say,
<i>Rapsodia, </i>or <i>Misa de Corpus Christi</i>) was, recognisably, also folk
music. In the following decades I wrote music which, to British and USA
audiences, might sound “very Bolivian” (or, for those who know less, “very <i>Latin</i>”),
whereas for Bolivian audiences it would sound “very classical” (or, for those
who know less, “very <i>contemporary</i>”). Those are typical reactions from audiences.
Each constituency would be aware of the otherness. This could mean that, as in today’s
BBC bias argument (“if all sides are unhappy they must be getting it right”), I
have been hitting the right spot. Or it could mean that, whatever the
demographic of my audience, they find my music alien. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica";">Do we want to be defined
in terms of our otherness? I am sure I am not the first composer to ask this
question. Of course, the absolute majority of creative artists would like to be
perceived as original. But do we want to be perceived as <i>other</i>? As <i>alien</i>,
even? What would the opposite of that be? What would it be like to be
recognised as familiar, kindred, relevant, congenial? How would that music
sound? Unappealing thought, especially if we think of the traits such music
would need to have to sound familiar, kindred, relevant and congenial to
listeners </span><span style="font-family: "helvetica";">–</span><span style="font-family: "helvetica";"> present or future </span><span style="font-family: "helvetica";">–</span><span style="font-family: "helvetica";"> of today’s contemporary music.</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The thought is more appealing
to me if I imagine a Bolivian listener – Latin American, even, and not
necessarily one from the thinly-populated spheres of contemporary music
audiences – recognising what I write as familiar, kindred, relevant or
congenial. What would that music have to sound like? Have my decades of working
immersion in classical music first, and then in contemporary classical music,
distanced me beyond recall from that listener? To the first of these two
questions I have been addressing my thoughts for quite some time. To the second,
I do not have to think to answer: the answer is no. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I am not, I cannot be too
far removed from a Bolivian, or Latin American, who is sufficiently interested
in music to listen to something I have written. I would go further: I cannot be
too far removed from any listener from any origin who happens to cross paths
with my work. Not if by “being far removed” we mean that my music leaves them
behind by virtue of being too rarefied. The reverse is more likely to be the
case, and I am sure it has happened already. In the lofty echelons of post-serial
music practice and thinking, I am pretty sure my music must have been dismissed
many times as “post-tonal” or “emotive” or other such dirty words from the
avant-garde lexicon – not that I have heard them; I would be very unlikely to,
since such circles are oh so universally polite. These high spheres are prone
to exclusivism, and my heart does not ache unduly at being excluded from them,
other than to regret the denial of access to some superb performers and
performance opportunities. It must be said, however, that I suspect that the
reasons for the exclusion are not musical, or not always.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">If those stratospheric practitioners
and thinkers have shown mistrust towards my serious works – the quartets, the orchestral
pieces, <i>Approaching Melmoth – </i>perhaps I ought to shudder at what they would
say about my efforts of the last year. But I am past shuddering. I am too busy facing
real dangers in other parts of my life. Let the lofties sniff, let them sneeze,
let them choke if they have to. I have a job to do, and not many months to do
it. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To what extent national
identity can be part of a recipe for originality is debatable. I have no
intention to use mine in that way, and am under no illusion that being Bolivian
will save me from oblivion. All I know is that I started off as a folkie; a
premature one, maybe, but an earnest one; I was serious about what I did back
in 1969 and 1970. Are you too young to be serious about what you do at that
age? Well, I wasn’t (too young), and I was (serious about what I did). <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I started off as a
folkie, I was saying, and then life put other exciting music in my way. I loved
this even more, but I also saw the need for consistency, for loyalty. So that
is what I came up with – the formula I confided to my sister. To save you scrolling
up, it was: “my music [will] have to be a conversation between the two
traditions [folk and classical].<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I had hoped to have
plenty of time to consider this challenge in my maturity, but I may be being overtaken
by events. In an implicit sense all my work has been that: a dialogue of two
traditions – at least two. But a conversation in an explicit sense in which two
characters are put centre-stage and are seen to converse, distinctly enough for
any listener to distinguish between them, including that hypothetical listener who is not
used to contemporary music or even to classical music. Have I done that before?
I hadn’t, but I have now. This is the first attempt. Ideally it will be the
first of a series. Let us see. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The title should be
self-explanatory as to who the characters in the conversation are. The title is
also an affectionate homage to Heitor Villa-Lobos, who did something comparable.
He did it more subtly – but hey, mine is only the first of a series. Or so I
hope. <o:p></o:p></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For those unfamiliar with the genre, the structure and rhythm correspond to <i>taquirari</i>, the emblematic genre from the eastern lowlands where I grew up. Is this a pastiche? Emphatically not. This is my mother tongue. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Until Trío Apolo of
Cochabamba have the chance to record it, all we have is the dreaded computer
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/649087139&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe></span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-35023497091644803472019-05-30T13:45:00.000+00:002019-06-05T16:48:37.198+00:00City Hall<style type="text/css">
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<span class="s1"><span style="font-size: medium;">Walking the streets of Newcastle yesterday, I came to the old City Hall. To call it ‘old’ does not mean that it is particularly ancient; it opened in 1927, which, for the standards of central Newcastle, is mature, but not that aged. Nor does it mean that there is a new one to replace it - not formally, at least.<span class="Apple-converted-space"> </span>In musical terms, City Hall is an old venue because many of the events that used to take place there are now put on in the modern, scenic and altogether more glamorous Sage Gateshead.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">Since its opening in December 2004, Sage Gateshead has developed a high profile, attracting the artists and the punters that would formerly have come to City Hall - and more, many more artists and many more punters. The river views make going to Sage Gateshead an even more attractive, aesthetically meaningful experience. <span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">Not much hope left for City Hall, it would seem. And yet, it is still standing. It has survived threats of closure and it has outlived the City Baths nextdoor. It now calls itself 02 City Hall Newcastle and its descriptions of itself defiantly define it as a concert hall.<span class="Apple-converted-space"> </span></span></span><br />
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<span class="s1"><span style="font-size: medium;"><span class="Apple-converted-space">Seeing it out of the blue yesterday, I was reminded of Mauricio Kagel's delight when he was my guest to attend the performance of a work of his at Ulster Hall in Belfast in 1993. He said words to the effect that these old halls were the heart of a city's music: good acoustics, central location, a sense of history. Why replace them?</span></span></span></div>
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<span class="s1"><span style="font-size: medium;">In the late 1990s and early 2000s City Hall was a weekly stop for me. The concerts of Northern Sinfonia - yes, this was before it was awarded its royal appellation - took place there, I believe, almost always on a Friday evening. I remember some extraordinary ones, including one conducted by Gennadi Rozhdestvensky.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">For me the strongest memory is the Newcastle première in 2000 of my <i>Approaching Melmoth </i>for baritone, choir and orchestra. The commission had come from Northern Sinfonia's then executive director, John Summers, before he left to direct the Hallé Orchestra in Manchester. The management recruited an excellent team including none other than Sir Thomas Allen in the solo part and the conductor Nicholas Cleobury. The management also asked me what piece would go well with mine in the programme, and my suggestion of Bach’s Cantata No. 4 was accepted. I had time to reflect on that choice and to build in connections to it in my own piece.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">After a pre-première in Carlisle which took the edge off everybody’s nerves, the team gave a confident, hugely committed performance at City Hall. By comparison with other premières I’ve been blessed with, say, at Lincoln Center or in those fabulous new halls in Spain, this was perhaps not the most glamorous of settings, but the piece was one of my strongest, the team was hard to surpass and the audience responded with enthusiasm.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">One of the best musical memories.<span class="Apple-converted-space"> </span></span></span></div>
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<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-75501104279028438902018-11-24T00:03:00.002+00:002022-06-27T12:02:36.647+00:00A Northumbrian Anthem, an update<style type="text/css">
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<span class="s1"><span style="font-size: medium;">That contemporary music has distanced itself from society is a frequent contention. That society has given up on new music is the obverse claim.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">A simplistic view would be that educated composers have secluded themselves in ivory towers where rarified music is heard by a few connoisseurs, mostly other composers. They compose for themselves and for each other, and they regard any concession to the public taste as a betrayal of high art’s precepts. This, of course, is an unhealthy state of affairs, and the remedy for it is for composers to write accessible music that is designed to be heard by a general audience.</span></span></div>
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<span class="s1"><span style="font-size: medium;">At the other end, an equally simplistic view would be that concert audiences and concert promoters have become lazy, philistine and averse to risk, as a result of which concert programmes have become conservative, excluding music written in the last century. This is seen as a symptom of a decaying society, spread by the contagion of easy consumerism. A healthy reaction to this is for composers to keep their integrity in the face of adversity, adhering unyieldingly to their aesthetic values in the face of the incomprehension of audiences and promoters.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">Each of these simplistic views has no shortage of proponents, but most intelligent people on both sides would take a more nuanced approach. This is not the blog entry where I intend to discuss the issue in depth. Will I ever? I expect I will, but not just yet. Sitting on the fence would be an evasion; coming out in favour of one contention or its opposite would give the growing number of my detractors even more rope with which to hang me.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">Today I mention the above debate only by way of context. Regardless of where one stands as a composer, it is a fact that there are times when a piece or project demands that one engages with the audience more directly than may be one’s habit. That is the nature of some projects. If one doesn’t like it, one is free to pass up the opportunity. If one accepts it, one has to deliver. It would be difficult to imagine Boulez, Ferneyhough or Barrett agreeing to be involved in such a project. But for those of us who, as well as wanting to keep challenging standards of rigour and innovation also want to keep a dialogue with society going, the ‘direct engagement’ proposition is appealing.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">In this particular case, the proposal came from a source which at the time was close to me. The piece needed to be short, simple, accessible to a general audience, with a positive feeling and - this was the key descriptor - anthemic. It was to be for organ. The fact that there was a commission fee, but that, in keeping with the spirit of the occasion, it was suggested that I should donate it to charity, made the challenge more quixotic and, for that reason, more appealing.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">After accepting the commission, I confess to feeling a great deal of trepidation. I am no stranger to straightforward, diatonic, tonal, singable writing. I had done lots of it for my friends in Bolivia, chiefly the choirs at Instituto Laredo in Cochabamba.</span></span></div>
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<span class="s1"><span style="font-size: medium;">Choral writing is a time to be tonal. This used to be a contentious notion, but the best-known composers currently producing for the medium in England and Scotland seem to accept it. Through familiarity with the people and their music (say, Tavener, Weir, Casken, MacMillan) one can feel surrounded by a relevant context. To be anthemic in that framework would be, for the composer, a natural extension, a question of channelling the available means in a particular direction, a point of focus.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;">But the organ? Having never done it before, I felt the sheer fact of writing for the instrument was a steep enough challenge. And then, what was the contemporary context for organ writing with an anthemic character? I found an inspiring precedent in a work by the young Romanian composer <a href="http://alexsmurariu.wixsite.com/composer">Alexandru Murariu</a>, <i>Espaces IV Spezzati. </i>Written for double choir and (single) organ, this beautiful piece is stirring indeed. In terms of the number and density of the notes it probably has the right degree of simplicity for my ‘anthemic’ challenge. But the aesthetic breadth of Murariu’s statement is on a grander scale than I understood my commission to require. Much as I enjoy listening to Murariu's piece, for my project a more demotic approach was required, one that would engage a diverse audience on more than one level of perception: accessible on the surface, melodious to the point of hummability, and also solidly constructed and capable of standing up to analytical scrutiny.<span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-size: medium;">Is it possible for a composer to write something that will stir a community in and 'anthemic' way and to remain true to oneself, avoiding a pastiche of old masters of the anthem - Walton, Elgar, even more ancient precedents? Would my own youthful and not so youthful anthemic vein, hitherto for Latin American consumption, be applicable to this project? Would I be able to manipulate these stylistic parameters to articulate the right statement? These and other questions preoccupied me, delaying the start of composition. </span></div>
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<span class="s1"><span style="font-size: medium;">In the meantime, events of a life-changing magnitude supervened. From one day to the next, I woke up to a new reality where it was not possible to know whether anything could go ahead as planned. I tried to salvage as much as I could, at least the things over which I had some control. The pieces I had committed to write were among the battles to be fought, and I fought them. In the hardest conditions, I wrote every one of them - well, it was only three pieces, but that was a hard enough challenge in the circumstances. <i>A Northumbrian Anthem</i> was completed as requested. I honoured my part of the deal. <span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: medium;"><span class="Apple-converted-space">Tonight should have been the première. Whether it went ahead, I do not know. What I offer here is - yet again - a computer simulation. </span></span></span></div>
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<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-71001158315959900212018-11-03T16:22:00.000+00:002018-11-03T16:25:19.230+00:00Momenta in Bolivia<style type="text/css">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI5neElbL_WBxY5YjcuJSYj1RPSrlbFg2dN4gBh9WXp67p5nxNKPmlmXGULv9dK-aWZWSdcQSl15W3_9fscHB7A_MNCUDQc3lrkGEMyOSXB_GFlSb7MYSxBL9RKyrTQ7u8tw1qx6vX0wY/s1600/Abyss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI5neElbL_WBxY5YjcuJSYj1RPSrlbFg2dN4gBh9WXp67p5nxNKPmlmXGULv9dK-aWZWSdcQSl15W3_9fscHB7A_MNCUDQc3lrkGEMyOSXB_GFlSb7MYSxBL9RKyrTQ7u8tw1qx6vX0wY/s320/Abyss.jpg" width="320" /></a></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-size: small;">The <a href="http://www.momentaquartet.com/">Momenta Quartet</a> have been among my main collaborators for quite some time. In 1997 they gave the first performance of my String Quartet No. 1 ‘Montes’ at Rock Hall Auditorium, Philadelphia, and they went on playing the piece many times since. In 2008 they visited Newcastle, playing ‘Montes’ at the ¡Vamos! Festival and at King’s Hall.</span></span></div>
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<span class="s1"><span style="font-size: small;">Years later, Momenta successfully applied for a Koussevitzky commission for what was to become my String Quartet No. 2, ‘Sin tiempo’, which they premièred in 2013 at Williams College, Williamstown, Massachusetts, and this work too became part of their repertoire. A highlight was their performance of ‘Sin tiempo’ as part of the 2017 Momenta Festival at the Americas Society, a performance which attracted much attention and heart-warming reactions from the press.</span></span></div>
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<span class="s1"><span style="font-size: small;">A visit to Bolivia by Momenta was long overdue. Over the years I repeated spoke to relevant institutions in the hope of arousing their interest in a Momenta project. It was only when I eventually approached the USA Embassy in La Paz that I met a receptive response. In retrospect it seems odd that I did not think of them in the first place.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">So it was that Momenta came to Bolivia in October 2018. The project included working with the students at Instituto Laredo coaching the strings of the Laredo Youth Orchestra, giving a concert as a string quartet and taking part in an orchestral programme as soloists and as members of the string section.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">The chamber concert took place on 24 October at the beautiful church of Convento Santa Teresa, which has been lovingly restored with funding from the USA Embassy. The programme consisted of works by living composers from the USA and my ‘Sin tiempo’. Admission was free. The public began to queue up about an hour in advance, and by the time we were due to start there were so many people standing in the aisles and in the atrium that many were unable to get in and had to go home.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Momenta gave a spirited rendition of <a href="http://www.ericnathanmusic.com/">Eric Nathan</a>’s <i>Four to One</i>, of <a href="https://philipglass.com/">Philip Glass</a>’s String Quartet No. 2 ‘Company’, of <a href="https://www.robertosierra.com/">Roberto Sierra</a>’s String Quartet No. 2 and of my String Quartet No. 2 ‘Sin tiempo’. These works proved an excellent choice for the occasion, and the audience surprised us by staying put till the end of a not undemanding programme of contemporary music.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">As to ‘Sin tiempo’, it may be because over the years Momenta have grown to know my work deeply, or because they were in my home country and hometown, playing within thirty metres of the spot where I was born, or because they were playing in a beautiful church to a rapt and numerous audience, or because of a combination of some or all of these factors. The fact is that they played magnificently. Rarely, if ever, have I heard my own music performed to such standard of perfection and commitment. This was one of life’s most rewarding musical experiences.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">The next two days Momenta were soloists in an orchestral programme at the theatre of Instituto Laredo. The conductor was <a href="https://es.wikipedia.org/wiki/Alejandro_Posada">Alejandro Posada</a>, a maestro with an international career who had been invited for the occasion by Fundación Bravura. The same foundation had invited three Venezuelan musicians, members of Orquesta Juvenil Simón Bolívar, to take part in the project. They played one of Vivaldi's Concerti Grossi, Mozart’s <i>Sinfonia Concertante </i>and Mozart’s Symphony No. 41 ‘Jupiter’. This orchestral experience was a logical continuation of last year’s Beethoven programme which I had prepared and conducted in August 2017. It was reassuring to see that the orchestral standard continues to rise at Laredo and that the recurrence of international projects involving visiting professionals is producing the desired results. Momenta shone in the Vivaldi in the Mozart, gaining many admirers among the orchestra members and the audience.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Throughout the week there were rehearsals and masterclasses, enabling Momenta to leave a lasting mark in the development of all the young people with whom they interacted.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">To say that Momenta in Bolivia was a success would be an understatement. It was a truly inspirational and developmental experience for many, bringing audiences and students in Cochabamba into contact with excellent music and musicians from the USA, enabling students to improve their technique and musicianship, and making it possible for a Bolivian composer such as I to interact at a high level with his native audience.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Thanks are due to Instituto Laredo, which is now the main driving force for music in Cochabamba, to the Embassy of the United States in Bolivia for their generous and determined support, to Fundación Bravura for seizing the moment to enhance this project with the presence of an outstanding conductor of international profile and of three young Venezuelan professionals whose contribution as performers and coaches was very noticeable and enjoyable.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">To the four members of Momenta, Emilie-Anne Gendron, Alex Shiozaki, Stephanie Griffin and Michael Haas, there are no words to thank them and congratulate them. They were outstanding in every respect, and they have left a trail of admiration and respect among those who heard them and those who worked with them. <span class="Apple-converted-space"> </span></span></span></div>
<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-24324826015074746262018-09-30T22:38:00.002+00:002022-06-28T17:16:39.624+00:00Première of LoA at Sage Gateshead<span style="font-size: medium;"><span style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif">I was not able to attend the première of <i>LoA </i>on 22 September<i>. </i>The reports are heartening, both about how the piece was performed and about the reception by the audience.</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif">A première is a difficult thing to miss and this one in particular was special in a number of ways. It is an intensely personal piece, condensing in ten minutes many of the experiences, thoughts and feelings accumulated over twenty-three years of life, work and love in the Northeast of England. The tune <i>Lads of Alnwick</i>, which underlies <i>LoA</i>, followed me around for much of this time, energising me with its enigmatic drive. <i>LoA</i> also represents a triumph over adversity, both in terms of the disabled musicians' belief-defying achievement and of my being able to write the piece in difficult circumstances.</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif">I thank <a href="http://www.sagegateshead.com/about-us/">Sage Gateshead</a> for the commission, the players of <a href="http://www.sagegateshead.com/about-us/northern-sinfonia/">Royal Northern Sinfonia</a> for pouring their musicianship into this music, and the four guest musicians Clarence Adoo, Adrian Lee, Gem Lunt and Stephanie West. I hope to hear the piece before too long.</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif">Meanwhile, here is the usual consolation in the form of a computer simulation. This is the version for ten instruments, which replaces the perhaps unrepeatable - or at least hard to repeat - combination that included Clarence Adoo's unique Head Space instrument.</span></span></span><br />
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/484494522&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe><br />
<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-87596794937968196352018-08-08T12:46:00.000+00:002018-11-02T23:11:19.106+00:00LoA<span style="font-family: "georgia" , "times new roman" , serif;">I report completion of <i>LoA</i>, a ten-minute chamber piece for nine instruments (Head Space, Oboe/cor anglais, Soprano/alto saxophone, Lever harp, Electric guitar, Violin, Viola, Cello, Double bass).<br /><br />This is a commission from North Music Trust as part of the celebrations of the 60th anniversary of Royal Northern Sinfonia. The première is scheduled for 22 September 2018 in Sage Two, Sage Gateshead, by RNS players and guests. <br /><br />The programme notes are available in the <a href="https://fernandeznotes.blogspot.com/">relevant part of this blog</a>. <br /><br />There is also an alternative version of this piece for ten instruments, with a trumpet and a bassoon replacing the rather unique Head Space, and instrument which has been developed for the specific requirements of the extraordinary musician Clarence Adoo. </span>Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-88825281040526976262018-06-25T09:13:00.000+00:002018-06-27T10:56:58.974+00:00Sigismund Toduță Festival 2018<!--[if gte mso 9]><xml>
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<span style="font-size: 12pt;">With some delay I write a few lines on this year’s Sigismund
Toduță Festival, which took place from 11 to 17 May in Cluj-Napoca. This year’s
was my third visit to the Festival.</span><br />
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<o:p></o:p></div>
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The Festival is an impressive display of organisation by the
staff at Academia de Muzică Gheorghe Dima, with strong support from a group of
students in musicology and music management. They have established a tradition
of running an international conference in parallel to a programme of concerts
and masterclasses. The performers are staff and students from the Academy. The participants
in the conference are staff and guests from other parts of
Romania and from abroad. The
programmes have a predominance of contemporary Romanian music, not excluding
their own, that is, music by professors, graduates and students from the
Gheorghe Dima. <o:p></o:p></div>
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My links with Romania, which I consider an important part of
my life, hinge on the connection with the Sigismund Toduță Festival. (The relationship with the National Music University of Bucharest is less assiduous, although much valued too). Every time
I go to Cluj I find new reasons to be impressed and grateful. This time the
Festival had the good grace to recommend that the Academy award me an honorary
doctorate, and the Academy had the good grace to agree. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AYAkzsQgY9lnQA9qsbnWN2YHtfof3YtNpe_DSk50w6hajkBcIa1wC9K3qfwUIrAkHNc0ue0rhF195yOE2bp5ozZssFVe3o59u5HMQ55aQ8LHggO82RZMbqjDuu6LzjGDVu0iBUDVcQQ/s1600/DHC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1599" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AYAkzsQgY9lnQA9qsbnWN2YHtfof3YtNpe_DSk50w6hajkBcIa1wC9K3qfwUIrAkHNc0ue0rhF195yOE2bp5ozZssFVe3o59u5HMQ55aQ8LHggO82RZMbqjDuu6LzjGDVu0iBUDVcQQ/s320/DHC.jpg" width="320" /></a></div>
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<o:p><br /></o:p></div>
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The conferral took place in a short and tasteful ceremony on
15 May in the AMGD Hall. The wonderful composer Adrian Pop, a professor at the
Academy, read the citation – referred to in Romanian by its Latin name, <i style="mso-bidi-font-style: normal;">laudatio. </i>This was an impressively
well-researched outline of my life and career, prepared with no previous
consultation with me. I had known Adrian Pop as an exceptionally gifted composer
and, through the work of his disciples, as an inspirational teacher. As he
expatiated on me, I was overcome by admiration for his gifts as a researcher
too. Even the most loyal reader of this blog will agree that to prepare a
lecture on me is not a simple matter of searching in one’s local library. <o:p></o:p></div>
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The ceremony was well organised and it ran smoothly. A group
of staff and students were in attendance - people who, over the years, I
have grown to esteem and like. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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The following day, a work of mine was performed by Jubilate
Choir under Mihaela Cesa-Goje. The work is <i style="mso-bidi-font-style: normal;">Tres
canciones sobre poemas de Rachel, </i>composed in 1976. In my previous visit to
Cluj, they had chosen <i style="mso-bidi-font-style: normal;">Notes from
Underground </i>and they had assigned the impressive Cappella Transylvannica
and baritone Christian Hodrea to the task. Composed in 2016, <i style="mso-bidi-font-style: normal;">Notes from Underground </i>was then my most
recent piece. There are forty years between these two works. If there is a hidden meaning
to this neat symmetry I am yet to uncover it; it may just be an elegant, but wholly accidental quirk of life, with no hidden meaning. <o:p></o:p></div>
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The concert on 16 May was also an opportunity to hear
another work by the prolific <a href="http://alexsmurariu.wixsite.com/composer">Alexandru Murariu</a>, <i style="mso-bidi-font-style: normal;">Espaces IV. </i>This is a beautifully crafted antiphony for choir and
organ, which worked very effectively in the reverberant space of Cluj’s Piarist
Church. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6hYO3B51121JJgazNzUL531ILfJ3kRmyoRLU1aoDdWvNhedoftuaRzxysZ9D_5QkaSKXE5iPEbpMIoDeLyG3j2uAXq1wBGShrvHcyY3z3_ykyX0CCiVL0ujyoiayKflPXHTDGScwnys/s1600/Piarist+church.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6hYO3B51121JJgazNzUL531ILfJ3kRmyoRLU1aoDdWvNhedoftuaRzxysZ9D_5QkaSKXE5iPEbpMIoDeLyG3j2uAXq1wBGShrvHcyY3z3_ykyX0CCiVL0ujyoiayKflPXHTDGScwnys/s320/Piarist+church.jpg" width="240" /></a></div>
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Together with <a href="https://www.sebastian-e-tuna.com/">Sebastian </a><span lang="RO" style="mso-ansi-language: RO;"><a href="https://www.sebastian-e-tuna.com/">Țună</a>
– with whom I </span>also had the opportunity to become better acquainted – Murariu
brings an injection of freshness and creativity to new music in Romania. I have
faith that these two young composers’ sphere of action will spread; they
deserve a wider audience. <o:p></o:p></div>
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Leaving Cluj felt harder this time. In my last few hours
there I completed a valedictory message I had started in 2016 and I put it up
on social media - and on this blog - as a parting present. A few days later, a talented student at
the Academy, Edith Gergely, prepared a Romanian translation. I reproduce it
below with her permission. <o:p></o:p></div>
<!--EndFragment--><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuMQikUY29-SsupQRfNs6N7c6_wEcrds7bgBdbWh2uVlMDGnJlmigpfZEfcDsaKIYY8yFrdkKuFvZGJyZ2EujOeTvo2OOdoVyx637EXWvFzMgjtP7ZUkvmYoCRRmEyewqWvTOgH_P744/s1600/Poema+en+rumano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1205" data-original-width="837" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuMQikUY29-SsupQRfNs6N7c6_wEcrds7bgBdbWh2uVlMDGnJlmigpfZEfcDsaKIYY8yFrdkKuFvZGJyZ2EujOeTvo2OOdoVyx637EXWvFzMgjtP7ZUkvmYoCRRmEyewqWvTOgH_P744/s320/Poema+en+rumano.jpg" width="222" /></a></div>
<br />Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-81362123257914540282018-05-19T19:38:00.000+00:002018-05-19T20:35:03.425+00:00Farewell to Cluj 2018<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px;">
Well, even the most beautiful things must come to an end, although in their beauty lies an assurance that they will live on.</div>
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
Thank you, <a href="https://www.amgd.ro/">Academia de Muzică Gheorghe Dima</a>, for your generosity and kindness towards me.</div>
<div style="background-color: white; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
<span style="color: #1d2129;">Thank you, Prof Banciu and Mrs Banciu</span><span style="color: #1d2129;">, </span><a href="http://cimro.ro/adrian-pop/" style="color: #1d2129;">Adrian Pop</a><span style="color: #1d2129;">, Edith Gergely and Oana Balan</span><span style="color: #1d2129;"> for looking after me so well.</span></div>
<div class="text_exposed_show" style="background-color: white; display: inline; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px;">
Thank you, <a href="http://www.gazetanord-vest.ro/2016/03/mihaela-cesa-goje-bagheta-magica-a-satmarului/">Mihaela Cesa-Goje</a> and Jubilate Choir, for doing my work with such commitment and good results.</div>
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<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Thank you, <a href="http://alexsmurariu.wixsite.com/composer">Alexandru Murariu</a>, <a href="https://www.sebastian-e-tuna.com/">Sebastian Țuna</a> and <a href="http://cristi-bence.wixsite.com/cristianbencemuk/biography">Cristian Bence-Muk</a>, for inspiring me with your vibrant music.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Thank you, Oana Andreica, <a href="http://www.penromania.ro/virgil-mihaiu/virgil-mihaiu/">Virgil Mihaiu</a>, <a href="http://muzicieni.cimec.ro/Cristina-Suteu.html">Cristina Şuteu</a> and <a href="https://www.mus.cam.ac.uk/directory/dr-bianca-temes">Bianca Temeş</a> for stimulating conversations at <a href="https://www.olivocaffe.com/">Olivo</a>.</div>
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Congratulations<b> </b><span style="color: #1d2129;">to <a href="http://ziarulfaclia.ro/festivalul-international-sigismund-toduta-2018-festival-aniversar-110-ani-de-la-nasterea-compozitorului/">International Festival Sigismund Toduța</a> </span><span style="color: #1d2129;">for a festival that keeps going from strength to strength.</span></div>
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<span class="_ezo" id="u_0_39" style="cursor: pointer; font-family: inherit;">Congratulations</span> <span style="color: #1d2129;">also to all the student composers and players, and to the participating professors, for all that splendid music.</span></div>
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It was a joy to see 'my' Year 4 again, and to meet the younger students - one of them a few months old.</div>
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Leaving Cluj this morning (18 May), the same words came back which I had begun to jot down on my mobile phone when leaving Cluj two years ago. I completed them just now. The short lines may look like a poem, but are not intended as a poem - unless one defines poetry as the inability to express thoughts in articulate prose. (A piece of music would take too long for this purpose.)</div>
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Un último beso a tus calles, Cluj,<br />
una última caricia de mis ojos<br />
a tus murallas.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Suena el rumor de tus bosques<br />
en tu música<br />
Toduță, Türk, Țăranu<br />
Pop, Țună, Murariu.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Habla tu historia<br />
de sangre y fronteras<br />
de reinos e imperios<br />
pasiones, pensamientos, iluminaciones<br />
en los ojos de tu gente<br />
en sus rostros, en sus rasgos.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Se oye tu pasado<br />
en las voces onduladas<br />
que pueblan el aire.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Tu presente<br />
rompe murallas<br />
alza barreras<br />
sana heridas.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Vibras, Cluj,<br />
y reverberas<br />
con eco largo.<br />
¿Cuándo terminas, y dónde?<br />
Tus límites no se ven<br />
aunque tu ausencia se sienta.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Resonarás, persistente<br />
más allá del bosque<br />
más allá de la razón.</div>
<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Aún así,<br />
largo se hará el tiempo<br />
sin besar con mis ojos las calles<br />
sin tocar los muros<br />
sin sentir las voces<br />
de Transilvania.</div>
</div>
Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-35997700950339961162018-04-23T20:38:00.001+00:002018-04-24T15:25:30.470+00:00James Wishart<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;">Today's drive to Liverpool was not a conventional trip down memory lane, but a very special occasion: a send-off to <a href="https://www.theguardian.com/theguardian/2018/apr/15/james-wishart-obituary">James Wishart</a>, who died last month. </span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">James was a composer, lecturer, pianist, conductor and animateur. He taught music to generations of students who were fired up by his enthusiasm and knowledge, myself among them. He wrote music with a refined sense of colour, textural richness and tasteful pitch control. He played the piano with extraordinary character and ease. He promoted and programmed innovative events in his adoptive city of Liverpool, helping to define its character as a viable centre for new music. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">The send-off took place at Springwood Crematorium. It was conceived and designed by two of James's closest friends, Stephen Pratt and Robin Hartwell. Endearing tributes by both of them were read as part of the programme. The whole event was conducted tastefully, lovingly and without superfluous sentimentality. It was all the stronger for that. I, for one, came out not so much with a lump in my throat as enveloped in the presence of that dear friend. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">Below is the text of my contribution to the programme. I had been asked to focus on James's work as an instigator of student performances. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">_________</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
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My joyful first impression of James
Wishart – and my poignant last impression – were both marked by the same
prominent factor: the man’s physical presence. <o:p></o:p></div>
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On a cloudy day in October 1984 he
came to meet me, an arriving MMus student, at Lime Street Station – I did not
know at the time how unusual an act of kindness this was from a PG supervisor
in a British university. His imposing figure, standing next to the petite one
of the departmental secretary Molly Burns, offered a striking contrast to the
eye. Any inference that his considerable height and his not insignificant girth
might be those of a sluggish person was soon dispelled when James swiftly got
hold of my heaviest suitcase and with easy, almost graceful movements lifted it
and put it in the boot of Molly’s Ford Fiesta. The bulk and the agility seemed
at odds with each other. You could construct all kinds of metaphors around that.
<o:p></o:p></div>
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To briefly fast-forward to my last
impression, I won’t dwell on the painfully visible effects of the two strokes,
except to say that the drastic loss of weight exposed something that previously
I had only been vaguely aware of: a set of surprisingly noble facial features
was now sharply delineated, making it hard to take your eyes off that face,
oddly familiar, oddly new, and always lit by the same two fiery, expressive
eyes which now conveyed so much of what he was unable to express verbally.<o:p></o:p></div>
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When it came to performing, James’s
physical persona took centre stage – literallly. His piano playing was gritty,
energetic and very precise. His conducting was focused, nimble and helpfully
detailed. He understood a score better than most, and his physical movements
were effective carriers of the character and gestural detail he saw in the
music he performed. <o:p></o:p></div>
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I played twice in James’s student
ensemble, Opus. I vividly remember the experience of playing his <i style="mso-bidi-font-style: normal;">Icarus </i>of 1983, conducted by him. This
was a richly textured and highly gestural piece, with a challenging vibraphone
part. At one rehearsal, one particularly angular and rhythmically complex
gesture was proving difficult to put together. One of the players asked how the
parts fitted together. James’s answer was a vocal rendition of the overall
gesture – a rapid-fire stream of sung notes, falsetto beeps, growls and
percussive onomatopoeia, producing such an unexpected torrent of sound that the
group erupted in roars of excited laughter. His comment was “Well, you did
ask”.<o:p></o:p></div>
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It may have been in the same
programme – was it? – that James let me conduct a new piece of mine, <i style="mso-bidi-font-style: normal;">Meditación No. 1. </i>It was his idea that I
should conduct it. The piano part was challenging, and of course he volunteered
to play it. To what extent it was his force, his characterful touch and his
rhythmic precision that kept the ensemble together I had occasion to assess
retrospectively a year later, when I conducted the same piece in London. <o:p></o:p></div>
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James was perfectly willing to
indulge more user-friendly tastes too. Towards the end of the academic year he
put together a staged performance of Weill’s and Brecht’s <i style="mso-bidi-font-style: normal;">The Mahagonny Songspiel. </i>He conducted us then, and he must have
been responsible for at least some of the overall production. James was equally
at home in the wry humour and smoky lyricism of this piece. A salient memory is
the opening, when a svelte <span style="color: black; mso-themecolor: text1;">female
student </span>in a black body suit and net tights came on stage, cracked a
whip, approached the conductor, sinuously wrapped her leg around him and
stamped a kiss on his cheek. The conspicuous red lipstick mark on James’s cheek
seemed a fitting accessory for a trip into 1920s Germany.<o:p></o:p></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
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In my Liverpool afterlife, so to
speak, from my new base in London I engaged James to accompany the virtuoso
violinist Takeshi Kobayashi, whose visit to Britain I had negotiated with the
Japan Foundation. There were concerts in London and in Liverpool. The programme
included Fauré’s exuberant Sonata No. 1 for violin and piano, plus Takemitsu<i style="mso-bidi-font-style: normal;"> </i>and a selection of other Japanese
contemporary music. A dizzy cocktail for any pianist, let alone one what was
also a full-time university lecturer. But James learned his parts and rose to
the level of the visiting virtuoso. Not for the first time, I was proud of him.
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Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-17719502900124775122018-03-17T19:44:00.002+00:002018-03-17T19:45:54.709+00:00Digital distribution by Filarmonika<div style="background-color: white; color: #1d2129; font-family: "SF Optimized", system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.12px; margin-bottom: 6px;">
Many of my hitherto unpublished works are in the process of being made available for digital distribution by <a href="http://filarmonika.com/">Filarmonika.com</a>. This means that those interested in browsing my work will be able to access a preview of the score and, in many cases, a snippet of audio. Those interested in acquiring the work will be able to order it online, much more economically than if they were to purchase a hard copy from one of the conventional publishers. If a hard copy is still desired, this can be requested from Filarmonika too. </div>
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This development is part of a new initiative by Filarmonika which was launched in February 2018. Their catalogue contains a range of music by a number of composers of Latin American origin. Some of them live in their native countries; others are based in the USA or in Europe. You could regard this as an extension of <a href="https://www.gramophone.co.uk/review/new-south-american-discoveries">South American Discoveries</a>, the project led by <a href="http://miguelharth-bedoya.com/">Miguel Harth Bedoya</a> (Filarmonika's founder). The eight works in this CD, recorded by the Norwegian Radio Orchestra and released by Harmonia Mundi in 2016, are a representative sample of the orchestral component of Filarmonika's catalogue. But there is plenty more in it that is not orchestral. <a href="http://www.filarmonika.com/">Do take a look</a>. </div>
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Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-16700362696523868492017-09-08T15:02:00.001+00:002017-09-14T10:53:47.900+00:00Proyecto orquestal Laredo 2017<h2 style="clear: both; text-align: center;">
<b style="text-align: start;"><span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Dos semanas en Cochabamba</span></span></b></h2>
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<span lang="EN-US"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: xx-small;">(To my anglophone readers: the following is an
outline in Spanish of the project I undertook in my native city, Cochabamba, in
August 2017. Invited by Instituto Laredo, I spent two weeks discussing
curricular ideas and preparing a concert of the Symphony Orchestra of Instituto
Laredo. The concert took place on 24 August to a capacity audience of around
one thousand. With many others, I consider the project an undiluted success.)</span><span style="font-size: small;"><o:p></o:p></span></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Invitado por el
Instituto Eduardo Laredo, tuve el gusto de trabajar en mi ciudad natal durante
la segunda mitad de agosto de 2017. Es la época habitual de las vacaciones con
la familia, así que hube de apelar a la comprensión familiar para acordar una
vacación sin mí. Así es que la familia se fue a Niza, yo me fui a Cochabamba.<o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Los términos de la
invitación eran 1) analizar las mallas curriculares actuales y futuras y
formular juicios constructivos con miras al establecimiento de ciclos de
educación superior en el Instituto Laredo, y 2) preparar y dirigir un concierto
con la Orquesta Sinfónica del Instituto Laredo. Ambos aspectos tienen su
trasfondo que vale la pena mencionar.<o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">En lo curricular, el
proceso ahora en curso es la realización de una idea largamente acariciada por
el fundador del Instituto, Don Franklin Anaya Arze (1912-1998), quien me había
explicado muchas veces su ambición de instituir una carrera de música en el
seno del Instituto. Don Franklin veía en esta idea la continuación natural del
trabajo lento y arduo que ya se realizaba, el de proveer una educación integral
artística, humanística e intelectual, y como conducto para canalizar el talento
de los que desearan seguir una carrera musical. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Han tenido que pasar
muchos años para que se pueda hacer un avance tangible en este proceso.<span style="mso-spacerun: yes;"> </span>Don Franklin ya no está con nosotros, pero
el actual director, Franklin Anaya Giorgis, enarbola la causa con la convicción
y energía necesarias para llevar a efecto los planes. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">El proyecto de
educación superior en el Laredo no ocurre en un vacío; ha habido antes
programas comparables en Bolivia. Dada mi larga ausencia del país no tengo la
visión más completa de los avances realizados, pero puedo mencionar que el
Taller de Música de la Universidad Católica (La Paz) produjo dos promociones de
licenciados en música separadas por 25 años, con menciones en dirección y en
composición. El Conservatorio Nacional, también en La Paz, ha consolidado sus
atribuciones de titulación, estando ahora facultado para otorgar títulos de
licenciatura. En Cochabamba, la Universidad Mayor de San Simón ha instituido la
carrera de música que otorgará “Licenciatura en Música con Mención en Gestión
de la Educación Musical Orquestal y Coral.” Tuve el gusto de dar dos clases
allí el año pasado y encontré a un grupo dinámico y entusiasta liderado por
Luis Moya y Giovanni Silva y grandemente fortalecido por la presencia eminente
de Alberto Villalpando y de figuras más jóvenes y sólidamente formadas como
Hugo de Ugarte y Bertha Artero. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Lo que se quiere hacer
en el Laredo es distinto de lo que se ha hecho o intentado hacer antes. Aun en
un caso óptimo en que los programas actuales continuaran y los anteriores
resucitaran, el proyecto Laredo los complementaría muy bien, ya que se trata de
un programa de estudios de interpretación orquestal, para el cual el Instituto
tiene la experiencia y la infraestructura necesarias. Pero no nos precipitemos.
Hay mucho trabajo preparatorio que hacer antes.<o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">En mis conversaciones
con los profesores del Instituto Laredo pude informarme de los contenidos y
modalidades de enseñanza en los ciclos primario y secundario. Los planes para
el ciclo superior están ya avanzados y fue posible analizarlos en detalle. Los
indicios actuales permiten abrigar grandes esperanzas en este proyecto y desearle
al Instituto Laredo mucho éxito, por el bien de las juventudes musicales
bolivianas. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">En cuanto al
componente orquestal de mi trabajo en Cochabamba, el trasfondo es largo pero lo
resumiré. Es sabido que en 2010 trabajé con los coros y la orquesta del Instituto
Laredo para el reestreno de mi <i>Misa de Corpus Christi. </i>La orquesta había
sido preparada por Augusto Guzmán - quien además había sido uno de los
promotores de la idea - y yo sólo tuve que dar los últimos toques. En aquella
oportunidad acordamos que yo dirigiría el estreno en El Campo y Augusto Guzmán
el concierto en Tarata. Ambos estuvieron repletos y fueron muy bien recibidos.
Posteriormente hubo otras presentaciones de la misa en mi ausencia, dirigidas
por Augusto Guzmán.<o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Pasó el tiempo y
cuatro años después, en 2016, estuve tres meses en Cochabamba, componiendo una
obra para Juilliard<a href="https://www.blogger.com/blogger.g?blogID=6358730116202216092#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="ES" style="color: black;">[1]</span></span><!--[endif]--></span></span></a>.
Mi presencia en el Laredo fue privada más que profesional, siendo la prioridad
mis labores de padre de familia. Pero asistí a un par de ensayos orquestales
con la idea de diagnosticar la factibilidad de que se interpretara alguna obra
mía, a sugerencia del Director del Instituto. Escuché a la Orquesta Juvenil,
que estaba siendo preparada por la profesora Noemí Uzeda; estando esta orquesta
en una fase inicial de su conformación (era febrero o marzo, a pocas semanas
del inicio del año escolar) me pareció que sería insensato imponerles el reto
de una obra contemporánea. Y escuché a la Orquesta Académica, que estaba siendo
preparada por Miguel Ángel Salazar. Esta agrupación me impresionó por su
disciplina y solidez técnica. Era evidente que se trataba de un grupo selecto
de alumnos trabajando junto a profesores instrumentales. Con esa orquesta se
habría podido hacer algo nuevo, pero ellos se estaban preparando para otro proyecto
importante y no habría sido responsable distraerlos.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">La misión que se me
propuso para agosto 2017 era la de trabajar con un grupo grande que reuniera a
la Orquesta Juvenil y a la Orquesta Académica, con la finalidad de elevar el
nivel general del trabajo orquestal en el Laredo. No era una misión fácil, dado
el poco tiempo disponible y la disparidad de niveles de los participantes. La
primera dificultad fue escoger un programa que retara a todos sin desmoralizar
a los menos avanzados. El programa fue tema de detalladas discusiones a
distancia con un grupo de profesores en el que los interlocutores activos,
además del Director, eran Álvaro Cadima, Noemí Uzeda y Miguel Ángel Salazar
Hidalgo.</span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Ellos me aseguraron
que se realizaría un trabajo intensivo antes de mi llegada, con los vientos a
cargo del Profesor Cadima y con las cuerdas a cargo de la Profesora Uzeda.<span style="mso-spacerun: yes;"> </span>A mi llegada supe que también se habían
realizado algunos ensayos generales con el profesor Augusto Guzmán. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Otros factores en la
gestación del programa fueron la presencia en el proyecto del joven violinista
Andreas Siles Mellinger, a quien todos deseábamos incluir como solista, y la
influencia benévola de Miguel Ángel Salazar Hidalgo. Andreas Siles, exalumno
del Instituto Laredo y actual estudiante de música en la Universidad de Viena,
ha sido objeto de mi interés por algún tiempo, desde aquel día de 2010 en que
un niño de diez u once años se me acercó para pedirme que le oyera tocar el
violín y me impresionó con su capacidad y convicción precoces. Este joven
talento ha ido desarrollándose hasta alcanzar un grado de profesionalismo que
permite esperar grandes cosas para su futuro. Con él se discutieron distintas
ideas de programación. La elección del Triple Concierto de Beethoven fue
posible gracias a los buenos oficios de Miguel Ángel Salazar, cuyos contactos y
alianzas permitieron asegurar la presencia de los otros dos solistas. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Inicié ensayos con las
cuerdas el 14 de agosto y con los vientos el 17. Encontré a un grupo altamente
motivado, resuelto a trabajar y muy receptivo a las indicaciones. La prevista
disparidad de niveles era evidente y en su momento me causó preocupación.
Llegué a dudar si la Octava Sinfonía de Beethoven había sido una elección
sensata. Pero una vez emprendido el viaje, la única dirección posible era
adelante, y así lo entendieron mis jóvenes colaboradores. Ninguno de ellos, ni
estudiantes ni profesores, daba visos de dar marcha atrás. El reto era grande,
pero el equipo se mostraba resuelto. Trabajamos hora tras hora, día tras día,
muchas veces hasta el agotamiento. Éste era visible en los brazos acalambrados,
en los ojos rojos y en los bostezos que se veían aquí y allá, sobre todo en los
días finales. Pero más visibles eran el entusiasmo y el esfuerzo por mejorar.
Nunca hubo señales de desaliento ni de desconcentración. Los jóvenes músicos
practicaron, los profesores supervisaron y ensayaron junto a sus pupilos, y
Miguel Ángel Salazar, además de hacer ambas cosas, se constituyó en director
asistente, brindando su oído atento y observaciones juiciosas. Todos
trabajaron, persistieron y, cuando hubo dificultades, lucharon. El resultado,
como no podía ser de otra manera, es que vencieron sus dificultades, avanzaron,
y llegaron lejos. El progreso fue sencillamente deslumbrante. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Si me cuesta abstenerme
de señalar casos específicos es porque la distancia recorrida en este trayecto
no fue la misma para todos. Aquellos que en un comienzo me habían parecido
inseguros, poco preparados para emprender una sinfonía de Beethoven, pero que
al cabo de una semana de trabajo sin descanso los vi tocando esa misma sinfonía
seguros, resueltos, absortos en un trance de concentración, ellos merecen mi
especial respeto. No los nombro, pero ellos saben quiénes son. ¿Tienen ellos
más mérito que los otros, los que fueron solventes desde un principio, pero que
con la disciplina y el esfuerzo que pusieron lograron también llegar más lejos
- yo diría bastante más lejos - del punto de partida? Pregunta ociosa, quizá.
No es necesario hacer distinciones. Todos avanzaron, todos lucharon, todos
evolucionaron notoriamente a lo largo del proceso, y todos participaron con
pasión en un concierto en el que vibró la energía de la juventud. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">La noche del concierto
en el Hotel Cochabamba el salón, con capacidad para más de mil personas, se
veía lleno. El público de Cochabamba fue atento y generoso. Los jóvenes músicos
mostraron que las horas y los días de trabajo no habían sido en vano,
concentrándose para rendir todo lo máximo que su preparación permitía y
desenvolviéndose, en suma, como verdaderos profesionales. Fue motivo especial
de orgullo ver y oír a Andreas Siles Mellinger como solista junto una de las
pianistas más destacadas del país, Adriana Inturias Villarroel, y junto a un
cellista colombiano, Santiago Bernal, cuya carrera se asemeja a la del mismo
Andreas Siles. Los tres se mostraron a la altura del gran desafío que
constituye el Triple Concierto de Beethoven. En la Octava Sinfonía la orquesta
realizó lo que se esperaba de ella, tocando con aplomo y energía, recreando el
carácter vibrante, transparente y atlético de una obra que, aunque compuesta
por un hombre de 42 años, rebosa de entusiasmo juvenil, frescura y humor.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">La idea de reunir a la
Orquesta Juvenil con la Orquesta Académica para crear una superorquesta del Instituto
Laredo resultó, en mi evaluación, un éxito. Gracias a una convergencia de
programas de trabajo que hasta entonces habían funcionado por separado y con
contenidos distintos, y gracias al espíritu colaborativo de sus profesores y estudiantes,
el Laredo se adjudicó un triunfo. Así lo quise resaltar en mis palabras previas
al concierto. Algunos asistentes interpretaron que al decir eso yo discriminaba
entre los alumnos, una interpretación sorprendente que felizmente, según he
podido establecer, no fue una percepción generalizada. Estando yo, como estaba,
intensamente enfocado en la música que iba a dirigir, es muy posible que haya
escogido palabras que no fueran las mejores. Respeto el parecer de las personas
que me hicieron llegar su preocupación, pero estoy seguro de no haber dicho lo
contrario de lo que quería decir, ni lo contrario de lo que mis actos
demostraban. <o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">El éxito es bueno en
la medida en que causa felicidad e impulsa el progreso. El éxito del proyecto
orquestal Laredo 2017 causó felicidad a muchos; lo sé porque vi sus caras, oí
sus palabras y sentí el ambiente de triunfo colectivo. Todos los involucrados
están orgullosos de lo que han conseguido, y si hay alguno que no lo esté
debería estarlo. Cerrar los ojos al éxito y las causas del éxito sería un error
que innecesariamente mermaría la felicidad e injustamente bloquearía el
progreso. Este éxito, tal como dije en público, se debió al espíritu de unidad
y colaboración que animó el proceso. Fue un triunfo de todos los participantes.
Se lo puede repetir con otro líder, pero no con otro espíritu.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><a href="https://www.blogger.com/blogger.g?blogID=6358730116202216092#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> <a href="https://www.juilliard.edu/">https://www.juilliard.edu/</a>
-- https://www.facebook.com/TheJuilliardSchool/</span></span><span lang="ES" style="mso-ansi-language: ES;"><o:p></o:p></span></div>
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Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-6976851381054693332017-07-18T12:21:00.000+00:002017-07-18T12:21:14.804+00:00More on Notes from UndergroundWho better to write - or talk - about this piece than the man of letters who produced the words, Sean O'Brien. Apropos of the - then - impending repeat performance at the Newcastle Poetry Festival 2017, O'Brien gave an <a href="http://www.newcastlepoetryfestival.co.uk/notes-from-underground-interview-with-sean-obrien/">interview</a> on the subject. As to me, I probably said as much as I need to say about this piece in last year's blog entry.<br />
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Today's is only an update on this piece's afterlife so far. The Newcastle performance - Gateshead, in fact, in Hall Two at Sage - was one to be proud of. <a href="https://www.voicesofhope.co.uk/">Voices of Hope</a>, still fresh from their BBC Choir of the Year triumph, gave a committed, thoughtful, polished performance. <a href="http://www.marcusfarnsworth.com/">Marcus Farnsworth</a> showed impressive knowledge and understanding of the piece with his deep, characterful and vocally splendid rendition. <a href="http://www.hughbrunt.com/">Hugh Brunt</a> held everything together as conductors should: firmly, confidently, without fuss. The players of Royal Northern Sinfonia did what one expects them to do, past masters of their instruments that they are.<br />
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Before that, at the <a href="http://ziarulfaclia.ro/festivalul-international-sigismund-toduta-3/">Sigismund Toduța Festival 2016</a>, <i>Notes from Underground </i>received a performance that shed a different light on the piece at the Philharmonic Hall in Cluj-Napoca. The young conductor <a href="http://cimro.ro/vlad-agachi/">Vlad Agachi</a> had the difficult task of making the piece happen with a student orchestra. It is, of course, no ordinary student orchestra, but that of the Gheorghe Dima Academy. They generously appointed an entire orchestral string section rather than the expected one-player-to-a-part. The result showed me a whole new range of possibilities I had not foreseen, and made me decide to reorchestrate the piece for full orchestra. Cristian Hodrea was an imposing vocal presence and Cappella Transylvanica gave a breath-takingly well prepared performance. I felt privileged to see their talents poured so generously into this music.Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0tag:blogger.com,1999:blog-6358730116202216092.post-78908004720995920922017-03-14T14:42:00.000+00:002019-07-31T19:59:59.188+00:00Río Bravo, update<span style="font-family: "georgia" , "times new roman" , serif;">Since the première at Lincoln Center, <i>Río Bravo </i>has undergone a significant revision. The aim, as ever, is to make the piece as effective as possible for the widest possible range of performers. This claim may seem questionable given the pervading technical difficulty in most of my work. But the truth is I do try. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">I am not at liberty to share publicly New Juilliard Ensemble's recording. Until such time as a recording can be made available to a general audience, here is a computer demo of the revised version. We now the limitations of computer demos, but dissemination is important, so needs must.</span></div>
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Agustín Fernándezhttp://www.blogger.com/profile/17818640119574963497noreply@blogger.com0