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There are days when the Countess facing the blank box Blogger with special joy. And today is just one of them. Not for the sake of giving a story that everyone already knows, but just for the goodness of this. When I read late yesterday in El Pais Digital granting the National Music Prize 2010 at interpretation Diego Fernández Magdaleno, I was glad of heart for this pianist immense and the world of music in general. And what the hell!, Also for me, I'm proud to know virtually three years long, personally for having heard less and live in a couple of chances and go for the twelve months now.
But I still alegró más leer que se le había concedido por:
" ...su excelencia como pianista, su constante labor de promoción de la música española, en especial la contemporánea, en su amplitud y diversidad estética; su permanente estímulo para la creación de nuevas obras, tanto de compositores consagrados como emergentes, destacando el estreno de 22 obras de creadores españoles en un solo concierto celebrado en Madrid, en el Auditorio Nacional de Música, el 14 de diciembre de 2009 ".
... Y es que, egoístamente, yo participé en uno de esos motivos escuchando y aprendiendo and in another, learning and listening.
I know these praises Diego nervous. No can do, is uncomfortable with praise. And to show I invite you to read the entry posted on his blog yesterday: Today . She will tell a lot from that great man, Fernández Magdaleno and in what spirit she received the news of the prize. But I want to acknowledge it or not, now is a pianist absolute reference in contemporary English music and also your sound is beautiful.
labor program that December 14, 2009 prepared by Luis Garcia Vegas, said: " not often find such an ambitious, dense and varied, as this journey that today offers us a pianist Diego Fernández Magdaleno. A intérpete than 37 years has become a key reference for contemporary interpretations piano, and it is shown by its more than two hundred premieres . " (excuse to say that I keep it, along with the entrance in one of the favorite places of my library)
were parading through the keys of the Steinway, the excited parts of 22 co-Ramón Barce. 22 elegies of very different style and structure but with the common bond of having been composed in homage to the composer in Madrid on the first anniversary of his death. There were small and heartfelt tribute to Marco, Sarda, Garcia Alvarez, Calandin, Garcia Demestres, Cartal, Legido, García Abril, Soler ... And danced around the piano, Impromptus, Wailing Epifafios, Limits, Elegies, and such beautiful compositions titles like "Whisper in my ear," "The path of the Cuckoo," "Sons de dol per Barce" ...
But hearing in all its subtlety, sadness, longing and admiration and teacher and colleague who died was made possible by to another great friend of the shelling was a quintessential art, a truly beautiful and unique sound and a feeling that almost felt down from the diaphragm to the toes. And who played was Diego Fernández Magdaleno, with depth and serenity. With the affection of friendship applied to interpretative mastery. And surely they are not hollow words and empty flattery.
That day I saw him reach the camera room and beat me a little respect for the salute. I said I would after the concert. But I assure you that the end of this was so moving it would have been a total lack of education and sensitivity on my part to try to interrupt. And is that at the end of the evening with the "Small Changes " Ramón Barce, the audience burst into applause and Diego asked all the composers who were there-they were all or almost all, to go up on stage. And if I was not wrong in my deductions, so did the shipmates. And the wood of the Chamber Hall welcomed excited hugs to her and the author whose memory was very much on the eyes and hands of those who went there. I assure you it was exciting. And I was not one to get me through something so beautiful.
But all the saints are eighth and recently, after the lost opportunity to Guadalajara, I was lucky attending a lecture-concert Diego. And if I like listening to their interpretations, I assure you it is no less delightful to hear their explanations teaching. In a pedagogical sense based on a clear use of the simplicity and humor was tacking real gems of knowledge relating to Ramón Carnicer, Enrique Barrera or the influence of Wagner and Chopin in our territory during the nineteenth century. And then paraded through her voice Jacinto Ruiz Felix Antonio Llamas and father. And leaping dancers names Aurelio González, José María Aparicio, mixed with those of Jorge Guillén, Eslava or Marcelino Villalba. And, as a brooch, Aizpurua, Legido, Agustín González Acilu ...
All these explanations and teachings were truffled with interpretations. Despite the small size of the room and "uncomfortable" acoustics, Schimmel sounded good, very good, finished good. And believe me it's a true pleasure to see Diego play, how his lips move vocalizing fun bars, dedicated and focused on what he plays. One after another, paraded enchanted a "Sonatina " of Barrera, a fragment of a piano sonata Llamazares, another early work of this: a " Night", full of finesse. And a "English Fantasy " of Villalba, with elements other than the popular and well romanticism of earlier pieces. Later came two beautiful little works of Felix Antonio, based on poems by Jorge Guillén entitled " Lullaby" and "mud Figures" (if I fail the notes taken on the fly).
ended the concert with " Klasteriana Didacus " Peter Aizpurua, the composer created for Diego friend and who reminded me of paintings by Rothko and Kandinsky. Art in constant search. Freed from any trim that does not say anything new. And by " Fúrfulas " (or " furcula " I do not know if I understood well), Jesus Legido, balanced and subtle as a painting by Cezanne.
I repeat it was a delight from beginning to end. But I can assure you high above their interpretations, research, knowledge, is the person Diego. Although interrupted miserably testing and our understanding was a bit steep for my fault, I assure you is great, intimate, warm, open smile. All of it friendly. And that is what most rooted in the mind, even beyond their technical needs and everything he has done for music research and contemporary music in this country. I promise you solemnly that I have not exaggerated at all the description that he do in this post. Or personally or professionally. It's good, very good and even better person.
And surely you know, Mr. Fernández Magdaleno, as well as a writer, is beautiful and specialized discography. I can not speak, unfortunately, of his books as I have not read yet either, but I can tell you about the two albums I've heard:
I have considered whether or not to put any part thereof. I resisted a little to do since I prefer be heard you represent in the CD drive with an original. But since you can freely listen to music on youtube , I decided to bring a small (by time, not quality) Josep Soler to taste its interpretation and superb sound. But there are cheats me, promise me if you like, acquire the records, that I have made it very easy to link. And yes, I bet the bodice ties that probably do not have yet, like me, a dedicated ... Envy filthy, why wait?!
J. Soler (1935). Polyphonies (1990). Diego Fernández Magdaleno, piano. Music Foundation Contemporary, 2002.
I going to let this last paragraph goes for a shell todito Medina de Rioseco ...
Oh yes, Diego, I know. That makes you feel to hear that fatal praises in the mouth or other key. That would give something because even with all the joy that is, spend these days of praise, congratulations and interviews. But you can not reproach is never in this post has a bit of lying or excess. And I tell you I am particularly pleased that National Award (I told you yesterday) by just and deserved for the pianist but, above all, because everything have big, beautiful person you have it.
A kiss very very strong and Congratulations!
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