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XXXVIII MUSICAL CONFERENCE OF THE OCTAVARY OF SANT JORDI
Banyeres de Mariola 2017
29 i 30 d’abril i 01 May
Church of Santa Maria
FREE ENTRANCE
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XXXVIII MUSICAL CONFERENCE OF THE OCTAVARY OF SANT JORDI
The octave ST GEORGE
Banyeres de Mariola 2017
Saturday, 29 d'abril, 20:00 h
AKKA BRASS QUINTET (He replaces the BRASS BAND due to the illness of its director)
Sunday, 30 d'abril, 19:30 h
Chamber Choir and AD LIBITUM Orchestra of the Quart de Poblet Choral School
Monday, 1 May, 20:00 h
MILLE E TRE string ensemble with members of the Spanish National Orchestra (ONE)
Church of St. Mary of Mercy of Mariola
* Logo
Parish of Santa Maria
Free entrance
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Saturday, 29 d'abril. Church of Santa Maria, 20:00 h
AKKA BRASS QUINTET
PROGRAM
Song for sonar n ° 2…………….. Giovanni Gabrielli (I 154-1612)
Contrapunctus IX……………………….. J. S. Bach (1685-1750)
Pavane……………………………………… Maurice Ravel (1875-1937)
Renaissance dances…………………. Tielman Susato(l500-I56l)
Maria (West side Story)………………. Leonard Bernstein (1918-1990)
Canon……………………………………….. Johann Pachelbel (1653-1706)
Small leak in Sol m……………….. J. S. Bach (1685-1750)
Pavane……………………………………… Gabriel Fauré (1845-1924)
Sonata for Die Bankelsangerlied….. Anonymous
Somewhere (West side Story)………. Leonard Bernstein (1918-1990)
Queen of Sheba……………………………. G. F. Handel (1685-1759)
Cavalleria Rusticana (Intermezzo)… Pietro Mascagni (1863-1945)
COMPONENTS
Saul Rubio, trumpet
Jorge Baeza, trumpet
Alberto Garcia, horn
Ruben Rubio, trombone
Ramón López, tuba
Concert sponsored by Fanfarria – Instruments Musicals
*- AKKA BRASS QUINTET
The Akka Brass quintet was born in Alicante in December 2016, of the concern of its members for the role of the metal wind in the field of chamber music. The 8 January 2017, AKKA wins second prize in the metal wind quintet competition "Ondaralvent", leaving the first desert. Likewise, despite its recent creation, prepare great projects and collaborate as a solo quintet with groups such as the Municipal Symphony Band of Alicante. The main objective is to delve into the most current repertoire for this type of training and explore its possibilities., to bring out the wide range of sound colors and styles that a proposal of this nature can offer.
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*- Saul Rubio, trumpet
Born in Alicante, begins his trumpet studies at the School of Music of the Sociedad Musical La Esperanza in Sant Vicent del Raspeig, and finished the Higher Degree at the Escola Superior de Música de Catalunya (ESMUC). As a soloist he has received awards such as the National Competition "Ciutat de Xàtiva" and the National Competition "Vila de Coix". He has been part of different young orchestras, com The World Orchestra of Jeunesses Musicals, the Young National Orchestra of Spain (YOUNG) o la European Union Youth Orchestra (EUYO), He has also collaborated with many orchestral formations such as the Alicante Symphony Orchestra, the Bilbao Symphony Orchestra (FOREST), the Barcelona and National Orchestra of Catalonia (OBC) and the Gran Teatre del Liceu Orchestra, among others. He is currently a professor at the Madrid Municipal Symphony Band.
*- Jorge Baeza, trumpet
Natural of Sant Joan of Alicante, begins his musical studies in the 7 years at the music school of La S. M. 'Peace’ of San Juan de Alicante and finishes the higher studies in the Conservatory Óscar Esplá of Alicante. He has been awarded the 2nd prize at the European Moulins Musical Performance Competition and the 1st prize at the Benidorm International Trumpet Competition. He has held the position of trumpet assistant soloist in the Spanish Radio Television Orchestra during the season 2007-2008. He has been a member of the Madrid Philharmonic Orchestra, Elche City Orchestra, Band of the Federation of Musical Societies of the Valencian Community, Young Orchestra of the Generalitat Valenciana and Young National Orchestra of Spain. He regularly collaborates with the Córdoba Orchestra, the Municipal Symphony Band of Madrid and the Municipal Symphony Band of Alicante.
He is currently a trumpet teacher at the music schools of Hondón de los Frailes, Let, City of Assisi and Villafranqueza, where he is also director of the youth band. He is director of the Musical Union Bonetense and the Musical Union of Hondón de los Frailes. At the same time, studied Band and Orchestra Conducting with D. Juan J. Navarro i D. José M. Knee.
* – Alberto Garcia, horn
He was born in Mutxamel (Alicante) in 1982. It obtains the Superior Title of Music in the specialty of Horn by the Conservatory Superior Óscar Esplá of Alicante in the year 2006. Later it extends studies with Nury Guarnaschelli in the Brass Academy Alicante. He is the lead singer of the Philharmonic Orchestra of the University of Alicante and regularly collaborates with orchestras such as I’ Elche City Symphony Orchestra, Oviedo Philharmonic, Chamber ensemble of modern German opera Berlín, Krasnoyarsk Chamber Orchestra i the Algerian National Symphony Orchestra. He has been the head of the Young Orchestra of the Generalitat Valenciana, member of the National Youth Orchestra of Spain and the International Youth Orchestra Oviedo Philharmonic. He is currently a horn teacher, choir and musical language in the music schools of the ‘L’Alianga’ Musical Society’ by Mutxamel, the Alicante-Alcoiá Regional School and the Vila de Sant Joan Professional Center. Likewise, is the director of the youth bands of the Musical Society “L’Aliança” of Mutxamel and of the Agrupació Artístic Musical “El Treball” of Jijona.
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*- Ruben Rubio, trombone
Born in Alicante, begins his trombone studies at the School of Music of the Musical Society "La Esperanza" of Sant Vicent del Raspeig and finishes the Higher Degree at the School of Music of Catalonia (ESMUC). As a soloist he has received awards such as the "Ciutat de Xàtiva" National Competition, the National Contest "Vila de Coix", or the VI National Chamber Music Competition City of Barcelona. He has been part of different young orchestras, com The World Orchestra of Jeunesses Musicals, the Young National Orchestra of Spain (YOUNG) o la European Union Youth Orchestra (EUYO). He has also collaborated with many orchestral formations such as the Orquestra Simfònica del Vallès, the Spanish Radio and Television Orchestra, the Murcia Region Symphony Orchestra and the Gran Teatre del Liceu Orchestra, among others. He is currently a teacher at the “La Esperanza” School of Music in Sant Vicent del Raspeig and at the Vila de Sant Joan Professional Conservatory of Music..
*- Ramón López, tuba
He was born in Almansa. He studied music at the Almansa Conservatory, Albacete and Murcia with the highest ratings, obtaining the final prize of average degree and honorable mention in the superior degree of tuba, being its professor Manuel Vidagany Solaz. He has been a solo tuba in the O. S. A (Albacete Symphony Orchestra) under the direction of Fernando Bonete Piqueras, tuba soloist in the metal group Collage Brass Ensemble as well as soloist and collaborator in the bands of Almansa, Alcazar de San Juan, Saix and Sant Vicent del Raspeig. He has given advanced classes with teachers Juan Bautista Abad, Juan Oriola, Vicente López and Miguel Navarro Carbonell. He has been a teacher at the Alicante Municipal Symphony Band since 1998 to date.
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Sunday, 30 d'abril. Església de Santa María, 19:30 h
Chamber Choir and Orchestra AD LIBITUM of the Quart de Poblet Choral School
Director: Francesc Gamón
PROGRAM
.- 1a PART (ca.20′)
Messiah
georg Friedrich Handel (1685-1759)
Oratory in three parts, HWV 56, compost in 1741. Selection
Musical edition: Watkins Shaw, Novello Publishing Limited
Behold the Lamb ofCod (cor)
Surely He hath borne our griefs (cor)
And with His stripes we are healed (cor)
Why do the nations so furiously rage together? (low)
Let us break their bonds asunder (cor)
If God be for us, who can be against us? (soprano)
Hallelujah! (cor)
.- 2a PART (that. 50′)
Requiem
Wolfgang Amadeus Mozart (1756-1791)
KV 626, completed by Franz Xaver Süssmayr (1766-1803)
Musical edition: Leopold Nowak, Bárenreiter publishing house
Introitus: Requiem (cor i soprano)
Kyrie (cor)
sequence:
1. Day of wrath (cor)
2. Sound strange (soloists)
3. Rex tremendae (cor)
4. Remember (soloists)
5. When (cor)
6. Lacrimosa (cor)
Offering:
1. Domine Jesu (choir and soloists)
2. Hosts (cor)
Spirit (cor)
Benedict (choir and soloists)
Lamb of God (cor)
Communio: Eternal Light (cor i soprano)
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COMPONENTS
Carmina Sánchez, soprano*
Myriam Arnouk, contralt
Jesus Alvarez, tenor
Miguel Ángel Ariza, low *
*Members of the Chamber Choir Ad Libitum
Concert sponsored by the Provincial Council of Alicante
PROGRAM NOTES
In early July 1791, Mozart (1756-1791) -pausing in the composition of The Magic Flute- he went to Baden to bring his wife Constance to Vienna, which received baths in this city to alleviate his illness. They were expecting their last child, Franz Xaver Wolfgang (1791 -1844), which would be born only to reach Vienna. It was just those days when the composer received the mysterious commission. An unknown emissary hands him an unsigned letter to which a mass of the dead was commissioned and time limits were set.. Mozart, after consulting with his wife and expressing his desire to confront this gender, accept. He replied to the stranger that he would compose the Requiem in exchange for a certain amount, that he could not set the exact date of completion and that he wanted to know the signs of the person issuing the order. Shortly afterwards, the emissary reappeared, which not only carried the requested remuneration, if not also the promise of a considerable supplement to the delivery of the work; he was left free to compose according to his instinct and inspiration, with the sole condition of not trying to find out the identity of the author of the commission. Presumably, Mozart begins composing the Requiem right away; But, he had to stop her when she received the order, equally favorable, of an opera would be for the coronation of Leopold II of Austria as King of Bohemia - "The Mercy of Titus" -, which he accepted and which forced him to leave for Prague in mid-August, accompanied by his wife and his student Franz Xaver Süssmayer (1766-1803). According to the story of F. Niemtschek, one of Mozart's first biographers, “the moment he got in the car with his wife, the emissary appeared as a ghost; he pulled behind his wife's shawl and asked: “What will happen with the Requiem?”. With the frantic pace that characterized him, completed "The Mercy of Titus" to be released on 6 September, with little success. This failure, added to the puzzling and mysterious commission and the important health problems he was beginning to have, they plunged him into a melancholy and delirious state of which the following September letter of 1791:
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“My head is spinning, (…) I can't get rid of the image of this stranger. I see him constantly: in pleads, he asks me and asks me impatiently for work. Continue because I will compose I get less tired than rest. A month, I no longer have anything to fear. I say this from what I experience when I think the time is coming. Life was so beautiful…, (…) but one cannot change one's own destiny. No one measures their own days; there is no choice but to resign: it will be what the providence provides. I'll finish, so, my funeral song. I can't leave it incomplete. '
In mid-September, already in Vienna and after I will compose his “Concerto for clarinet”, despite being sick and besieged by "increasingly black thoughts", Mozart works tirelessly to make the "Requiem". Convinced of his imminent death, he comes to think that he had been poisoned and that the mysterious messenger was a spirit who commissioned him with what would be his own requiem.. in the meantime, "The Magic Flute" was successfully performed in Vienna itself, released on 30 September. A slight improvement allowed him to conduct the "Little Masonic Cantata" in mid-November; But, from the day 20 of the same month, he had to make bed. "He 28 in November the patient's condition worsened (…), there was practically nothing left to do. (…) His hands refused to obey him, while his feverish fantasy continued to work on the "Requiem"; The, at night, he was flying to the theater, where the audience was enthusiastically applauding "The Magic Flute" (…). The day before he died he murmured heartlessly: “How I would like to hear my “Magic Flute” again” (…) At two in the morning some musicians were with him. Mozart ordered that the score of the "Requiem" be taken to his bed, and the others began to read the finished pages on the harpsichord. The tenor Schack goes on the part of the soprano, Hofer the tenor and Gerl the bass; i Mozart, with his tenor voice, tried the contralto part. They reached the "Lacrimosa", where work was interrupted. From the very beginning, the teacher was convinced that he would never finish it. Taken by a fit of tears, he set aside the score. ' (B. Paumgartner). He continues to work diligently on "his" requiem, assisted by his faithful student Süssmayer, and the score accompanies him until his last earthly hours, to the point that Mary and Vincent Novello, which are among the first of his biographers, describe his death with the suggestive image "The pen dropped from his hand" (the pen fell from his hand).
After his death, Constance, concerned about the possibility that the commissioner might reject an unfinished work, losing the promised reward and much needed, decided to call Joseph Leopold Ebler (1765-1846), musician much loved by Mozart, to entrust him with completing the score; But, this, declined the offer. Süssmayr, on the other side, he accepted it, being him, for his closeness to the master, the only musician who could have a complete idea of the architecture of the work. The situation of the score on Mozart's death was: l´lntroitus and the Kyrie were complete, the Sequence had the complete vocal parts until the 8th bar of the Lacrimosa and only sketched the instrumental parts, and the Offertory was outlined.
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The author of the mysterious commission turns out to be the Walsegg account, passionate music lover and amateur composer, who wanted to have a funeral mass to dedicate it to the memory of his late wife, pretending to be her own. So he did and, at the reception of the complete score of the "Requiem", he copied it from his fist with the inscription "composed of the Walsegg account" and personally directed it to the 14 December 1793. Constance's greatest obsession has always been that the "Requiem" be considered entirely authentic., and it wasn't until 1800 when Süssmayer definitively clarified the case.
Süssmayer's is not the only version of the "Requiem" and, throughout history, many other composers have written alternative endings to Mozart’s unfinished work; But, yes this is the most traditional version and the one that, given the student’s proximity to the teacher, could be understood as the closest to his will.
*- Ad Libitum Chamber Choir of the Quart de Poblet Choral School
The Ad Libitum Chamber Choir has positioned itself in recent years as one of the Valencian choirs with the greatest projection, as endorsed by the numerous awards won in the most important national competitions.
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The Quart de Poblet Choral School is an extensive pedagogical project that deals with training in choral singing from an early age of four.. It currently consists of more than 350 children, youth and adults divided into seven choral groups. Since it began its activity in the 1983 has offered more than 950 concerts, making numerous international tours in Europe and South America. He has performed a wide repertoire and frequently collaborates with the Reina Sofia Palace of the Arts in Valencia., where he has been under the baton of some of today’s greatest directors, with Lorin Maazel Ricardo Chailly.
Ad Libitum is the chamber choir of the Choral School, composed of young people with a solid musical and vocal training. He has performed "Handel's Messiah" in its entirety on several occasions, as well as other great works such as Bach's "The Passion according to St. Matthew", Mozart's "Vesperae solennes de Confessore" and Rutter's "Magnificat". He made his debut as an opera choir in "La Flauta Màgica" and has given concerts in important auditoriums and in historical spaces., such as the Castle of Manzanares El Real (Madrid) or the basilica of Santa Maria del Popolo in Rome (Italy). He has won numerous awards, among which the first prize stands out, the public prize and the FIRACOR special prize at the Fira de Tots Sants de Cocentaina Choral Contest (2015), the second prize in the Antonio José de Burgos National Choral Contest (2015), the second prize «Silver Lira» in the Contest of the Marine Song of San Vicente de la Barquera (2014 i 2016) and the honorable mention in the International Contest of Habaneras and Polyphony of Torrevieja (2016).
www.escolacoral.com
*- Francesc Gamón Olmo, director
He was born in Sagunto, l’any 1986. He holds a degree in orchestral conducting, choir and piano direction by the Conservatory of Valencia, where he was a disciple of the Masters Miguel Ángel Herranz, Manuel Galduf and Pilar Vañó; He is currently studying music at the ESMuC in Barcelona. He expands his training in renowned centers, such as the Chigiana Academy of Siena (Italy) i el Berklee College of Music. He has collaborated with many groups, offering concerts throughout much of Spain and also in the United Kingdom, Germany, Franca, Italy and Andorra.
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His continuous training in the field of musical direction includes numerous advanced courses and master classes with teachers such as Gianluigi Gelmetti, Bruno Aprea, Enrique Garcia Asensio, Christopher Soler, Omer Meir Wellber, Josep Ramón
Gil-Tárrega, Juan Luis Martinez, Eduardo Cifre, Vasco Negreiros i Martin Schmidt. He has been at the forefront of many groups, including the Orchestra of the Sofia Classical Bulgaria Foundation, the Young Provincial Orchestra of Malaga, and the Symphony Band, the Symphony Orchestra and the Choir of the Musical Union of Llíria.
His repertoire, constantly growing, it already includes famous pages of symphonic-choral literature, such as Mozart and Fauré's "Requiem", the oratory “The Messiah”, the "Coronation Mass", Vivaldi's "Gloria", fragments of operas and zarzuelas, as well as other works from all eras. He recently made his debut as an opera director with "The Magic Flute". For special attention to early music and the year 2013 founds L’Arcàdia, group specializing in the study and interpretation of music prior to 1800 with historical instruments and criteria, of which he is musical and artistic director. He has participated as a conductor in the recording of several CDs.
He trained as a music researcher with the help of professors Antonio Ezquerro and Luis Antonio González studying the master's degree in music at the Polytechnic University of Valencia., specializing in the study of early music. He has done and published several research papers and is currently preparing his doctoral thesis.
Since his directorial debut last year 2005 he has been the head of various vocal and instrumental formations. He is currently in charge of the Ad Libitum Chamber Choir of the Quart de Poblet Choral School, with whom he has won some of the most prestigious national awards, activity that combines teaching at centers such as the Rafael Orozco Conservatory of Music in Córdoba and the Joaquín Rodrigo Conservatory of Music in Valencia.
www.francescgamon.com
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Monday, 1 May. Church of Santa Maria, 20 h
MILLE E TRE String Set
"Around nostalgia"
Director: Jordi Navarro
PROGRAM
.- 1a PART
Last spring
(of the 2 elegiac melodies op 34)…….. Edvard Grieg (1843-1907)
Italian (andantino)
Ancient dances and arias for lute, suite III… Ottorino Respighi (1879-1936)
Violin Concerto, oboe and strings
in the minor BWV 1060………………………. Johan Sebastian Bach (1685-1750)
I: Allegro
II: Slowly
III. Allegro
.- 2a PART
Serenade for strings…………………………. P. I. Tchaikovsky (1840-1893)
I: Piece in the form of a sonatina
II: False
III: Elegie
IV: Finale
COMPONENTS
Violins: Miguel Angel Alonso, Jone de la Fuente, Ana Llorens, Alfonso Urdieres,
Mario Perez, Elsa sanchez, Isabel Vicente,
violas: Alicia rooms, Marti Varela, Sergio Vigara
Cellos: Joaquin Fernandez, Carla Sanfélix, Josep Trescolí
Bass: Laura Asensio
Soloists: Robert Silla (oboe), Mario Perez (violin)
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Notes to the program
The Mille e Tre string ensemble is made up of musicians who usually play together in the Spanish National Orchestra.. For this concert they have prepared music by Grieg, Respighi, Bach i Tchaikovsky.
The program begins with ´ "Last Spring" (composed in 1880), one of the two elegiac melodies where Grieg is inspired by the poem “Varen” by Aasmund Olavsson Vinje. In this Norwegian poem, a man who feels near his death contemplates, with resignation, the one she knows is going to be her last spring. We will listen to the string orchestra version of this sad but at the same time beautiful song.
Suite No. 3 of Respighi's "Ancient Aries and Dances" was composed in 1928 and is based on popular entertainment dances of the Italian court of the 16th-18th centuries. We will hear the first movement, called "Italian", a beautiful and nostalgic ovation to the past.
The “Violin Concerto, oboe and strings I060R in C minor ”by J. S. Bach, where soloists Robert Silla (oboe) i Mario Pérez (violin) will be accompanied by the Mille e Tre String Ensemble. Bach used to arrange for harpsichord the concerts previously written for melodic instruments. In this case, only the version for two harpsichords and strings has survived the time, and from it the original version that we will hear today has been reconstructed. The work is structured according to the Italian model, with three movements (fast-slow-fast). In the first, a recurring theme of the whole orchestra alternating with lighter episodes of the soloists in dialogue. The central movement is a lyrical adage, full of melancholy. The third movement has characteristics similar to the first, but of a slightly brighter character, and concludes with a re-exposition of the first theme in triumphant form.
Tchaikovsky's "Serenade" for strings will completely occupy the second part. Although Tchaikovsky's inner life was complicated (his mother was missing when he had 14 years, his temperament was unstable and hypersensitive and his homosexual tendency - not accepted by the society of his time- it caused him deep psychological problems) this work belongs to a period of Tchaikovsky’s sentimental stability (1880). This is an extensive piece, which excites for its romanticism and which is very diverse in its four movements. The first has an affirmative solemnity that grabs the listener’s attention; the second is a waltz known because it is often performed as a tip by orchestras, the third is a beautiful and profound elegy and in the last movement a Russian popular motif slowly appears which in the end is wisely reconciled with the romantic theme of the beginning of the work..
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*- Jordi Navarro, director
Born in Banyeres de Mariola on 1982, for some years now Jordi has been combining his activity as a trombonist in the Spanish National Orchestra with orchestral conducting..
He has conducted the VERUM Symphony, the Young Orchestra and Choir of the Community of Madrid (JORCAM), the Orchestra of the Ljubljana Academy of Music, The group of metals and percussion of the JONDE, the Forum Musikae Orchestra and various chamber groups made up of members of the national orchestra.
He is currently pursuing a Master’s in Orchestral Conducting at the Alfonso X University of Madrid with Miguel Romea (with whom he studies from 2011) i Andrés Salado. He has also taken courses with George Pehlivanian, José Rafael Pascual-Vilaplana, Kurt Masur, Konrad von Abel…
With the trombone he has been a member of the Gustav Mahler Youth Orchestra, Young National Orchestra of Spain, Young Orchestra of the Generalitat Valenciana, Mediterranean Youth Orchestra, Oviedo Philharmonic, Youtube Symphony Orchestra… and has collaborated with the Mozart Orchestra, Spira mirabilis, Cadaqués Orchestra, Qatar Philharmonic, RTVE Orchestra, Orchestra of the Gran Teatre del Liceu, Valencia Orchestra…
He won the first prize in the International Trombone Competition "Città di Chieri" and in the XI National Competition of Xàtiva.
*- Mario Perez, violin
Awarded in «Padova International Competition 2011 «(Italy), «City of Alcobaca» concurs (Portugal) and finalist in the "Gaetano Zinnettic" competition in Verona (Italy). He has performed as a soloist with the Spanish National Orchestra in the National Auditorium of Madrid, he has also performed with the wind group, Baroque orchestra and symphony orchestra of the Real Conservatorio Superior de Música de Madrid, etc. He has given recitals in Madrid and the Community, Penyiscola festival, blanes festival, cycle "Great Performers" of the Gayarre Foundation, Auditors d’ Oviedo, Valencia, Lion, Leipzig… in addition to having made four international tours of the country of Mexico, with recitals in Toluca, Mexico City, Celaya, Queretaro, Oaxaca i Acapulco.
He has made recordings for television and as a soloist in R. N. E. With his chamber music work he has been part of the Mauz Trio, Mediterranean Quartet, Synergia Group, Mixtour, Quartet Arteria o Neopercussió. He is currently part of the Trio Musicalis.
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*- Robert Silla, oboe
Robert Silla, was born in Valencia in 1982 studies oboe from the 8 years at the conservatories of Valencia and Castellón where he won the extraordinary end-of-career award in the class of Vicente Llimerà and the Euterpe award for the best academic career. He later expanded his studies with Emanuel Abbühl at the Staatliche Hochschule für Musik in Mannheim and received advice from Maurice Bourgue as well as studying the interpretation of early music with Albert Romaguera.. He has been a soloist with the Porto Orchestra.
He is currently a soloist with the Spanish National Orchestra as well as collaborating with other orchestras, such as the Orchestra del Teatro alia Scala in Milan., Orchestra of the Gran Teatre del Liceu, Orquesta Musicaeterna i festivals like Rurhtrienale or Salzburg.
Back cover
Organize:
Department of Culture of the City of Banyeres de Mariola
Brotherhood of Sant Jordi Banyeres de Mariola
Sponsor:
Diputación de Alicante
M. I. Banyeres de Mariola City Council
Brotherhood of St. George Mariola
Fanfare – Instruments Musicals
Col•labora
Parish of Santa Maria de la Misericòrdia in Banyeres de Mariola
Banyeres de Mariola Musical Society
