Costa Blanca Arts Update - Music to broaden the mind, three concerts in Alfas del Pi, nothing standard in sight.

 

Alfas del Pi Music Society offered three May concerts to complete the first part of its annual season. But these were three remarkably different concerts, each challenging in its own way, each presenting a surprising mix of the partially familiar and the less well-known. It was a repertoire to broaden a listener’s experience and it achieved that and much more.

The three concerts featured solo guitar, solo harp and a duo of cello and piano. The four musicians presented some fifteen works between them and all from different composers. There was not a single German or Austrian Classicist or Romantic within hearing distance. There was no Chopin or Liszt, no Debussy or even Shostakovich or Tchaikovsky. There was French and Hungarian music but also Argentinian, Uruguayan, American, Spanish, Swiss and Italian, alongside just a little German baroque.

Javier Llanes began the cycle with an evening of solo guitar music. He started with Manuel de Falla’s Homenaje a la Tumba de Debussy and then continued with the Baroque suite L’Infidele by the German composer Samuel Weiss, a composer whose identity might be in the Rococo, but his mind was clearly in the future. This was the closest our weekend approached to Classicism. The Hungarian Johan Kasper Mertz provided the next piece in the form of his Elegie, a piece of deep Romantic emotion. Mauro Giuliani’s Rossiniana Number One reminded is all how much improved Rossini’s music can become when it’s not in his own hands! And the concert ended with Una Lemnosita por el Amor de Dios of Agustin Barrios, which offered a moment of reflection to end rather than a grand rousing celebration. The effect was magical.

And speaking of magic, this is what Italian harpist Floraleda Sacchi generates from her instrument with such ease that perhaps her fingers don’t need to contact the strings. Now the harp repertoire might not be known to the average concert goer, which means that any solo recital featuring the instrument must also introduce the audience to new experience. But his did not matter in the least to this audience, such was the poetry of the playing. And by the evening’s end we all felt as if we have as if we’d like to continue hearing this music forever.

Floraleda Sacchi began with the Gitana of Alfonse Hasselmans and followed that with two pieces but Argentinian composers. Astor Piazzolla’s Oblivion was the closest the weekend came to popularity and it is a work that has become not only a familiar, but close to cliché, though not on the harp. Claudia Montero‘s Evocaciones followed and it proved to be a real revelation, given that it was both substantial and challenging, being harmonically and rhythmically varied, besides stunningly and refreshingly elegant.

Philip Glass’s Metamorphosis formed the substantial filling in this meal-sized sandwich of the program. Floraleda’s choice of repeats within an already deliberately repetitive experience metamorphosed this piece into a real meditation in which the audience willingly and profitably entered. The overall stillness of the piece was suggested by the near constant left hand arpeggio, whilst the soft commentaries in the treble contrasted, leaving the bass notes to provide what sounded like a commentary. Overall Philip Glass in Floraleda Sacchi’s hands created a landscape that was forever of interest.

Floraleda Sacchi’s program finished with two pieces by Ludovico Enaudi, Dietro l’incanto and Oltremare, whose episodic detail contrasted well with what had preceded it, and the audience’s response to the evening proved nothing less than rapturous. Two encores followed, Merengue Rojo by Alfredo Rolando Ortiz and Images by the harpist, herself. Not many in the audience had ever heard a concert of solo harp. Not many of them will ever forget the experience.

A third concert in three days would have to contrast strongly with the others to prove memorable. To say that David and Carlos Apellaniz did provide adequate contrast would be an understatement. Both the guitar and harp are soft voices in a concert hall. A cello and piano, however, can generate quite a lot of sound!

David Apellaniz was to play two cello concertos with piano accompaniment. This would be a feat in itself, but to play the Honegger concerto followed by Milhaud’s first was a task and a half.  Arthur Honegger’s music can be severely neoclassical. It can also be tender and reflective, and this performance made the most of this vivid and exciting contrast. Some of the textures in this sound are enduringly memorable. Darius Milhaud’s music always seems to have popular song nearby, though the proximity is often only hinted at through an almost transparent screen of modernism. The overall result is one of melodic and rhythmic excitement and energy.

After working very hard indeed, David left the stage for Carlos Apellaniz to bring everything to a close with a solo piano performance of Gershwin‘s Rhapsody In Blue. If we needed more energy in this concert, we truly got it by the bagfull. This was a vivid reading of a familiar work, an interpretation that had to merge the orchestral part with the original solo piano, a feat that was both challenging for the performer and rewarding for the audience, an audience perhaps familiar with the work but not in this format.

And at the end of the weekend of three concerts, one is reminded that there is a lot of music out there, that it is all worth discovering, that it is all nothing less than utterly rewarding, if only one is willing to step outside of the predictability of what we already know. There must always be space for individual voices and they should never be crowded out by our pre-directed expectations.

Costa Blanca Arts Update - Cassado and Chopin in Alfas del Pi, Stravinsky and Elgar in Alicante

 

Just over a year ago, it would not have been anything special to declare that it had been possible to attend four quality concerts in this area over three days. And then there was covid. Here is Spain, we had a strict initial lockdown, but since then schools have stayed open and some cultural spaces have kept running in spite of restrictions on numbers. Before saying anything else, it is necessary to remind oneself that the new norm has involved social distancing, fifty per cent capacity for venues, compulsory hand sanitiser, masks, the recording of contact details and a temperature test on entry. This has severely restricted audience’s willingness to attend and has persuaded many, perhaps a majority of venues to cease activity altogether. In addition, performers’ travel has been as restricted as the population in general, despite there being the possibility of exemption permits for work. The combination of restrictions on travel, availability of travel and reluctant venues has severely curtailed cultural activity, however, and there have been many perennial supporters of live events who have expressed the opinion that such gatherings should not be happening during a pandemic. Opinion is on one side, while the law places the limits. Also, many more elderly regular attendees have decided that now is the time to lock up and stay in. Individuals have made their own choices.

And now, on the day that bars and restaurants can open until ten o’clock in the evening and when cultural venues can admit seventy-five per cent of their capacity, it was under the previous, more severe restrictions that saw concerts on Friday evening, Saturday lunchtime and evening and Sunday lunchtime in Alfas del Pi and Alicante.

On Friday in Alfas del Pi, Antonio Garcia Egea and Fernando Espi joined as Duo Arbos to play a works from the repertoire of violin and guitar. This was the kind of programme one does not encounter often. It started conventionally with Spanish Dance no5 by Granados, but Carlo Domeniconi’s Sonatina Mexicana has probably not figured often on concert programmes in the last year. It has probably never been followed by Ravi Shankar’s El Alba Encantada, and the microtones of Indian music have probably never before led into Paganini’s Cantabile! Astor Piazzolla’s Historia del Tango, Bourdel 1900 and Café 1930 followed by Libertango was conventional in comparison, as perhaps was Pablo Sarasate’s Playera Romanza Andaluza, despite the understated but stratospheric virtuosity of the ending of the violin part. We finished the evening with Fernandon Espi’s own Impromptu and we were particularly grateful in these times to be taken by the performers on such a varied journey.

On Saturday lunchtime the orchestra at ADDA (Auditori de la Diputacion de Alicante) marked fifty years since the death of Igor Stravinsky with a breath-taking performance of Petroushka. Yes, it’s a work that the majority of the audience had hear many, many times, but it remains a work that is fresh with every new exposure and particularly so in this reading by Josep Vicent, whose reading of this music is faultless. The colours were always vivid, the scenes clear and beautifully depicted in this work that paints with sound. We also heard a superb reading of the Elgar Cello Concerto by Damian Martinez and then had encores of the Valse Triste of Sibelius and, and true to the form of current concerts, a short piece of Piazzolla, Oblivion, with the leader’s violin as soloist.

Then on Saturday evening, back in Alfas del Pi Duo Fortecello, the cello and piano of Anna Mikulska and Philippe Argenty, gave the first of their two concerts. This one featured works by Chopin, Nocturne opus 9, Cello sonata and Polonaise Brillante coupled with Piazzolla (yet again!) in the form of the Triptyque "la Trilogie de l'Ange" and finally the Danse Macabre of Saint-Saens. We only just made the curfew…

Then on Sunday, Duo Fortecello presented their second programme in Albir. While their first programme was the epitome of the conventional, the second was as opposite as it is possible to be. They opened with Joaquin Nin’s Seguida Española and followed with what proved to be a rare gem. Gaspar Cassado wrote a famous sonata for cello and piano based on old Spanish tunes, but this Sonata en la menor, though from the same year, 1925, is quite different in character. Exactly how many times this work has been performed in Spain cannot be assessed, but it is certainly not many times. And it may have been performed elsewhere even less. The work itself is superb and deserves to be much more widely heard, especially when it is compared to other works that form the basis of the repertoire for cello and piano. Any music lover will find great reward in searching out this work and hearing it performed. It has to be said that the fourth movement, Paso Doble, does not live up to the quality of the first three, but the criticism is minor. How many composers, after all, were capable of writing finales that lived up to their preceding movements?

Anna and Philippe continued with a Flamenco solo for cello by Rogelio Huguet y Tagell and then Andaluza by Granados. Manuel de Falla’s Siete Canciones Populares Españolas is music of genius and Gaspar Cassado’s Requiebros, though derivative, is a superb way to finish any concert. And so the duo had given a musical tour of Spain, visiting most regions and sampling its musical soul. Superb. And what a relief from current preoccupations!

Costa Blanca Arts Update, Claudi Arimany, Eduard Sanchez, Joaquin Palomares, Elena Segura

 

There are not many concerts around these days. In addition, audiences are reluctant to attend and the travel and accommodation restrictions make it hard for musicians to perform. Let’s hope things change sooner rather than later, because when music is shared it is truly capable of enriching lives. This was admirably demonstrated in the pair of concerts presented by Alfas del Pi Music Society on the weekend of 6 and 7 March.

On Saturday 6 March in Casa Cultura, the society presented a quintet of musicians led by flautists Claudi Arimany and Eduard Sánchez. The program was an intriguing mix of styles and genres, which would be suggested by the group’s title for the concert, Classic Meets Jazz. Now, anyone familiar with the flute knows the name Theobald Böhm. Indeed, without him the modern flute may never have existed, since it was his invention in the mid-19th century that established the modern fingering system for the instrument, the system that still bears his name. As a composer, Theobald Böhm may not be the most inventive, but he certainly knew his instrument and knew how to write for it. His Three Little Trios create an insider´s view of how the capabilities of the instrument can be best demonstrated and Claudi Arimany and Eduard Sánchez rendered these challenges with complete musicality, so the virtuosity blended into the music and made sense of it, rather than being an end in itself, as can be the case with such showcase pieces.

Haydn´s Duo No.4 is an arrangement of music originally composed for two violins. This version for two flutes is the composer´s own and is a substantial piece. The delicacy, skill and intricacy with which Joseph Haydn presents his ideas via this unusual pairing we probably take for granted, such is the composer´s stature. But this is music that is rarely heard in concert and so it is possible to approach the piece without the trappings and assumptions of familiarity. The restrained understatement of this music gradually grew to become its power. Well before the end, the playing and performance had completely outshone in ensemble and virtuosity the showpiece that had preceded it and the interpretation underlined Haydn status as one of the great all-time great composers.

The Andante and Rondo of Karl Doppler returned the audience to the familiar, at least those present with detailed knowledge of the flute repertoire, which probably wasn’t many! But this is a piece that is more familiar than its title or origin, since snippets of it often appear as call signs for radio stations, or advertisements.

And then the musicians reconstituted to form a jazz quartet fronted by Claudi Arimany to play the Suite for Flute and Jazz Trio by Claude Bolling. Now this is a substantial work that interleaves classical style ensemble with drum beats, jazz chords and a rhythmic, plucked bass. There is much that is familiar here, many quotations from popular song and folk melodies, as well as jazz standards and Broadway. But overall there is real compositional skill and invention, in this case not dissimilar in concept to Matisse´s collage-making, to bring everything together into a musically convincing whole. This is music that is original in style, if not often in content, but Claude Bolling´s skill in creating something greater than pastiche is considerable.

After the standing ovation and rapturous applause, the group offered two encores of Scott Joplin Rags and the concert without an interval closed over 90 minutes after it started, leaving attendees just 20 minutes to get home before the 10 o’clock curfew!

On Sunday 7 March, Alfas del Pi Music Society presented what was probably a first in the history of Spanish musical performance, and a program that has probably been replicated just a handful of times in its possible century and a half of existence. This was the coupling two great Romantic violin concertos, those of Beethoven and Brahms, in one program, played by the same soloist. It has to be said that on a Sunday lunchtime in lockdown the concert could neither accommodate nor afford to employ a full symphony orchestra, that part being performed in piano arrangement in the hands of Elena Segura. And this is music that was probably originally conceived on the piano, so the arrangement carried all the musical messages, though obviously not all of its orchestral timbres. What was unchanged from the full versions of these works was the challenge posed to the soloist, Joaquín Palomares. Now, in front of an orchestra, the soloist always does have the possibility, though none would admit to it of course, of playing a little softer here and there, to blend a little more with the orchestra, not to hide of course, but merely to rest.

When accompanied by a piano in a small auditorium, such opportunity does not exist. In such a setting, there is simply nowhere to hide. On stage with an orchestra, the soloist is ten metres or so from the nearest audience. In a small room with piano accompaniment, ten metres covers the entire audience! But under these conditions, the quality of the writing comes to the fore, and the musical communication becomes nothing less than intense, as long as the soloist has the skill, musicality and, not least, the stamina to do the job.

There is no need to restate the greatness of these two concerti, since the violin concertos of Beethoven and Brahms are unquestioned masterpieces. What needs to be recorded and in the most emphatic way possible was the playing, virtuosity, and the achievement of Joaquin Palomares. Superb. Superb. Superb. Da capo al fine.

 

Costa Blanca Arts Update - Mariozzi-Mariozzi-Rucli in Brahms, Beethoven and Rota and Palomares-Espi in Musica Iberoamericano

Live music in December 2020 is probably not the commonest of commodities wherever you live. In our corner of south-east Spain, we have some. In normal times, whatever that phrase might now mean, there would be at least the opportunity of attending two or three concerts a week in this area, but our new normal here has for several months changed the situation. Whether it is this new scarcity, this new normal, or indeed whether it is simply the quality of what we hear, I have no idea, but I can record without hesitation that everything now sounds more vivid, more committed and more beautiful. And so it was for the two chamber music events presented by Alfas del Pi’s Classical Music Society this weekend.

On Saturday 12 December in Casa Cultura, the society hosted a piano trio with what looked like at first glance a fairly standard program. The trio comprised the clarinet of Vicenzo Mariozzi, the cello of Francisco Mariozzi and the piano of Andrea Rucli. This was in fact the fourth concert of the trio’s mini tour with the same program and, if the other three venues had provided rehearsal time, then this fourth concert’s perfection might just have another explanation apart from the obvious and sustained virtuosity of the musicians.

We began with the Brahms trio opus114. Its gentle, almost flickering lines assemble to present a mind in turmoil. The phrases may be short, sometimes very short, but the statements are long and sometimes convoluted. But eventually this is direct music, despite its almost constant asides, whose surface a listener can enjoy at an aural glance. But there is much more here only just below the gloss. There is the aftermath of depression, an obvious, but, one feels, an unfulfilled desire to reflect on a past that has some powerful memories. There is nostalgia alongside fear of the future and the unknown. The music seems to reek of regret. Its style and hand are both utterly assured, but the composer is suffering new personal doubt, so we are presented with a contradictory and compelling mix of late Brahms, personal doubt expressed via assured technique, intangible feelings precisely described. It was a picture that Vicenzo Mariozzi, Francisco Mariozzi and Andrea Rucli conveyed via a remarkable skill of understatement.

In retrospect the next two works on the program formed a similar pair, an unexpectedly similar pair in that they seem to share an unusual conceptual framework. Beethoven was a young man when he wrote his opus 11 trio, the Gassenhauer. He wanted to show off. He wanted to make his mark on the city‘s life, future earnings being the goal. He thus wrote a serious trio that showed off his melodic, conceptual and compositional gift. But crucially he adopted a contemporary earworm for the main theme of the finale. It was a tune that everyone was whistling around the town. In Beethoven’s hands, it became a set of variations where the main variable is rhythm. This trivial little idea then becomes something grand, even grandiose at times, despite its humble origins. It was rather what Beethoven himself wanted to do in his own life.

The final piece in this program was the trio by Nino Rota. The work’s first two movements are both highly melodic and very rhythmic, but the musical language is couched in a style that can only be described as astringent neoclassicism. This may not be Hindemith, nor Stravinsky, but it is music with a hard, sometimes spiky surface. The finale, however, is like a scoop of ice cream on a crumbly biscuit, an almost hackneyed ditty that sits somewhere between Charlie Chaplin and the Keystone Cops. It’s a moment that reminds us not to take anything too seriously, except, perhaps, a sideways surreal and thus revealing view of life. Beethoven chose a silly ditty to self-aggrandise, whereas Rota seems to make fun of the whole process until, however, one realizes how beautifully written and constructed is the entire work. And the fact that this commentary deals almost exclusively with the impressions delivered by the pieces is testimony to the perfection that Vicenzo Mariozzi, Francisco Mariozzi and Andrea Rucli brought to the playing.

And then, on Sunday lunchtime Alfas del Pi Music Society presented a violin and guitar duo in Albir. It’s a combination and a concert we have heard before and hopefully we will hear again. The society’s vice-president, virtuoso violinist Joaquín Palomares renewed his performing partnership with guitarist Fernando Espí in a program they titled Música Iboamericana. In theory, these might be viewed as lighter pieces, an assemblage to pass a pleasant hour on a clear and sunny December day by the sea.

But the understanding between these two virtuoso musicians renders everything they play not only elegant but also exciting and ultimately moving. The program was the Serenata by Malats, the Brazilian Dances of Machado, a Milonga by Tavolaro, Amasia by Boutros, three of Manuel de Falla’s Popular Songs and two movements from The Story of the Tango by Piazzolla. The music went from bossa nova to tango, from Europe to South America, from folk music to dancehall, a journey which, when contrasted with the trio of the previous evening, really did illustrate how far music can transport an audience and the different places it can take us.

Twelve years of Alfas del Pi Classical Music Society - alfasmusica.com

 

«Nuestro público es el fiel reflejo de lo que es la sociedad alfasina»

Tras doce años de existencia la asociación ha organizado ya más de 250 recitales

por Nicolás Van Looy

 martes, 3-noviembre-2020

Entrevista > Philip Spires / Sociedad de Conciertos de Música Clásica de l’Alfàs del Pi (Wakefield -Reino Unido-, 1952)

Philip Spires representa, en cierta medida, el tópico del gentleman inglés. Su tono de voz suave, su verbo educado al extremo y, sobre todo, una cultura general que emana de cada una de sus palabras convierte una conversación con él en todo un desafío intelectual.

Spires preside la Sociedad de Conciertos de Música Clásica de l’Alfàs del Pi. Con todos estos datos, el lector seguramente se haya hecho una imagen muy definida en la mente sobre nuestro entrevistado y no diferirá mucho de un hombre estirado, pedante y, casi, con levita y monóculo.

Philip Spires es todo lo contrario. Es un tipo cercano con el que cualquier conversación, por larga que pueda ser, se hace corta. Su trabajo le llevó a vivir en distintos y exóticos lugares del mundo y ahora, ya jubilado, ha recalado en l’Alfàs del Pi donde puso en marcha la asociación que sigue presidiendo.

La Sociedad de Conciertos de Música Clásica nació hace doce años. ¿Cómo comenzó esta aventura?

Originalmente colaborábamos con Vicente Orts, en la Finca Senyoret, con unos conciertos de verano que reunían a una pequeña cantidad de personas y a unos pocos músicos. En aquellos días teníamos la ayuda de una entidad bancaria. No era mucho, pero organizábamos dos o tres conciertos en el mes de agosto.

Entonces, Joaquín Palorames, vicepresidente y director artístico de la asociación, también organizaba conciertos en colaboración con algunos ayuntamientos, especialmente en l’Alfàs del Pi. Fue él quien pensó en poner en marcha un programa de conciertos de pago a través de una membresía por parte de los asociados ya que pensaba que podía ser un modelo que funcionaría en un lugar como l’Alfàs.

«CELEBRAMOS NUESTRO PRIMER CONCIERTO EL DÍA DEL INCENDIO FORESTAL DE LA NUCÍA. ÍBAMOS A COMENZAR Y NO HABÍA SUMINISTRO ELÉCTRICO»

Sé que el día de su puesta de largo las cosas no salieron muy bien. ¿Qué sucedió?

(Ríe) Fue el día del incendio forestal de La Nucía. Íbamos a comenzar el concierto y no había suministro eléctrico, lo que nos obligó a arrancar tarde. Pero, desde entonces, hemos realizado unos 250 conciertos.

Ustedes han traído a l’Alfàs del Pi a artistas de todo el mundo sin olvidarse tampoco de los músicos de la zona. ¿Qué es lo más complicado a la hora de organizar un programa anual de conciertos?

¡Lo más complicado para mi es lidiar con Joaquín! Él es el director artístico y discutimos qué artistas queremos invitar. Lo bueno es que él tiene sus propios contactos y, a través de ellos, podemos llegar a la mayor parte de los músicos que queremos traer. Además, hay músicos que nos contactan directamente ofreciéndonos su repertorio y sus conciertos.

También contamos con distintos lugares para organizar los conciertos. Por ello, si contamos con un músico al que no conocemos muy bien, podemos, por ejemplo, probar su recital en el Forum Mare Nostrum antes de programarlo en la Casa de Cultura al año siguiente.

Su trabajo a la hora de contar con músicos de fama internacional es impresionante. ¿Desde dónde han sido capaces de traer concertistas?

Hemos tenido artistas que han venido, obviamente, de España; pero también de Italia, Alemania, Francia, Croacia, Serbia, Polonia, Rusia, Reino Unido, Irlanda, Bélgica, Estados Unidos, Albania, Bulgaria… ¡de muchísimos sitios!

Nuestros conciertos son, en cierta medida, fiel reflejo de la sociedad internacional y multicultural de l’Alfàs del Pi. Es una sensación que me encanta, porque yo me considero, por encima de todo, un ciudadano del mundo y, en segundo lugar, un habitante de un lugar concreto. Soy un absoluto convencido de que cuanta más interacción tengamos, mejor.

«TRAEMOS ARTISTAS CON LA CALIDAD SUFICIENTE COMO PARA HABER TOCADO EN ALGUNOS DE LOS ESCENARIOS MÁS IMPORTANTES DEL MUNDO»

L’Alfàs del Pi no deja de ser un pequeño municipio fuera del circuito de los grandes escenarios de la música clásica. ¿Es complicado convencer a los músicos para que vengan a tocar aquí?

No, en absoluto. No estamos en las grandes ligas, es verdad. Debemos ser realistas y sabemos que no vamos a poder contar con Lang Lang, así que nos centramos en lo que nos podemos permitir y ahí sí que somos capaces de atraer a muy buenos músicos. Artistas con la calidad suficiente como para haber tocado en algunos de los escenarios más importantes de ciudades como Ginebra, París, Nueva York, Viena, etc.

En nuestro caso, muchos de los músicos con los que contamos vienen de Italia por una cuestión de relaciones históricas. Algunos son muy conocidos y otros menos, pero eso es la música. Debes estar abierto a escuchar lo que te ofrecen y lo que te llevas es esa experiencia.

«ALGUNAS VECES HEMOS PEDIDO A UN MÚSICO QUE CAMBIE ALGUNA PIEZA, PERO SOLO HA SERVIDO PARA QUE NO CAMBIARA ABSOLUTAMENTE NADA»

Una vez han cerrado el acuerdo con el músico, ¿quién propone o decide el repertorio que tocará en su visita a l’Alfàs?

Una vez me crucé con un pianista, cuando dirigía una asociación en otro lugar del mundo, al que le pregunté cuántas piezas podía tocar sin necesidad de ensayar demasiado y me dio que unas mil. Eso es algo extraordinario. Normalmente, los músicos llegan con un repertorio y lo que hacen es repetirlo en cada una de sus actuaciones.

Lo más habitual, por lo tanto, es que cuando hablamos con ellos nos digan “voy a ir con este programa”. Algunas veces les hemos pedido que cambien alguna pieza, pero sólo ha servido para que, llegado el momento del concierto, no cambiaran absolutamente nada.

«LA MÚSICA CLÁSICA ES PERCIBIDA COMO ALGO ELITISTA. RECHAZO ESAS ETIQUETAS DE FORMA ENÉRGICA Y CATEGÓRICA»

¿Cree que es acertado el término de música culta para referirse a la música clásica? ¿No supone etiquetarla de una forma elitista que podría espantar a buena parte del público?

Entiendo lo que dices. En inglés, por ejemplo, no tenemos ese sinónimo, pero la música clásica también es percibida como algo elitista dirigida a la clase media-alta en adelante. Rechazo esas etiquetas de forma enérgica y categórica. Pero voy más allá: odio el término ‘música clásica’. Sé lo suficiente de música como para saber que el periodo clásico comenzó alrededor de 1720 y acabó en 1800.

Supongo que su propia colección de música será enorme.

Arranca en el siglo X y termina en una grabación de una pieza que se compuso la pasada semana. Tengo 32.000 piezas musicales en mi colección en más de 2.000 discos. No quiero repetirme, pero muy pocas de todas esas grabaciones podrían ser consideradas música clásica. Son, principalmente, música moderna y es imposible de clasificar.

Pero esas etiquetas, de una u otra forma, se han impuesto en casi todas las expresiones artísticas.

Así es. Si lo comparamos, por ejemplo, con las artes visuales, tenemos el periodo clásico, pero también el romanticismo, el barroco, el rococó, el renacimiento o el gótico. Y luego, tienes la era moderna, que arrancó entre 1880 y 1900. Mi opinión sobre todos los movimientos en el mundo del arte se resume con un dicho muy conocido en inglés: “el que paga al gaitero compone la pieza”.

Es la gente que paga el arte la que decide su estilo. Desde 1880 o 1890 el arte ha sido más la expresión de un gusto individual, de algo que va a ser patrocinado por un benefactor. Ese es el motivo por el que tenemos esa explosión de diferentes estilos.

Entonces, ¿a qué nos referimos con el término música clásica?

Hoy en día, en pleno 2020, se puede referir a un cuarteto de cuerda, pero también a una grabación, como la que me llegó el otro día, de alguien creando un ritmo tirando granos de arena sobre una mesa para explorar sus efectos sonoros. La clave, para mi, es que el mercado no sea el principal objetivo que marque lo que el artista está intentando hacer. Eso es todo.

En cualquier caso, los artistas también deben de pagar sus facturas y eso lo consiguen siguiendo las demandas del mercado.

Antes me has preguntado sobre el término música culta. Es algo que contrasta con la música que se crea para el mercado. Este te marca una serie de patrones a los que te tienes que amoldar y a la gente no le produce ningún tipo de sorpresa. Cualquier cosa que sorprenda a la gente, que no resulte familiar, crea automáticamente una reacción. A veces, al público no le gusta que se le presenten cosas que no le resultan familiares.

«PARA QUE PODAMOS APRECIAR ALGO EL PÚBLICO DEBE COOPERAR QUEDANDO LIBRE DE PREJUICIOS»

Si uno hace el experimento de escuchar cierto tipo de música, como por ejemplo el rock, y dar marcha atrás en el tiempo, verá que cada nuevo estilo de música entronca con un movimiento anterior y que no es difícil llegar a la llamada música clásica desde cualquier propuesta. ¿Por qué cree que eso no es algo mucho más evidente y que cuesta tanto que el público se acerque a ella?

De nuevo, falta de familiaridad. En esta sociedad es imposible, y eso es algo que en l’Alfàs del Pi sí que se ha conseguido en cierta medida, escapar de la música pop y su influencia. Oirás música pop en cualquier tienda, en cualquier calle, en los medios de comunicación… Te la están metiendo a todas horas. Es una fijación de consumo.

Si la gente se familiarizara de la misma manera, por ejemplo, con Chopin, también lo reconocerían. Hace poco escribí que para que podamos apreciar algo el público debe cooperar en el proceso y debe quedar libre de prejuicios. Eso es lo que mucha gente hace con la música clásica: prejuzgarla.

Disculpe la osadía, pero Puccini fue, seguramente, uno de los grandes artistas pop de su era. Al fin y al cabo escribía pensando en el mercado y en conseguir un nuevo ‘hit’. ¿No cree que es injusto prejuzgar la música pop de esa forma?

Eso que dices es muy interesante. Si repasas la biografía de Puccini descubrirás que fue prohibido…

Sólo por ciertos sectores, los más conservadores de su época. Sus obras llenaban los auditorios y él era inmensamente popular y rico.

Así es. Schubert apenas tuvo éxito durante mucho tiempo porque lo que proponía era nuevo y la gente no lo aceptó. Puccini era muy accesible, pero también hubo otros compositores de ópera como Leoš Janáček, conocido como el Puccini checo, que tuvieron un mayor legado sobre la ópera que vino después. Puccini, en ese sentido, fue una vía muerta.

Pero, volviendo a tu pregunta original, también rechazo, aunque lo he usado antes, el término de música pop. No es popular. Más del 90% de los discos pop que se publican no producen ningún beneficio porque no son populares. Lo correcto, por lo tanto, sería decir música populista.

Volvamos al ámbito local. ¿La mayoría del público de sus conciertos está formado por residentes extranjeros?

No. Nuestro público, te lo aseguro, refleja fielmente la sociedad alfasina, es decir, está formada al 50% por españoles y extranjeros. Y todo, con dos excepciones llamativas: no conseguimos que vengan muchos ingleses y tampoco, y esto me duele más, mucha gente joven.

«ES LÓGICO QUE LOS JÓVENES NO VENGAN A NUESTROS CONCIERTOS. ESTÁN EN UNA EDAD EN LA QUE LO QUE QUIEREN ES SOCIALIZAR»

¿A qué cree que se debe?

Mira, durante un tiempo viví en Brunéi. Allí todas las chicas jóvenes de origen chino tocaban el piano, pero nunca vimos a ninguna en nuestros conciertos. Creo que es algo lógico. Un concierto de música clásica implica estar dos horas en un sitio sentado y escuchando música y los jóvenes están en una edad en la que lo que quieren es socializar.

Pero sí van al cine.

Sí, pero eso lo haces con tus amigos e, incluso, puedes cuchichear con ellos sobre lo que estás viendo. Si eso lo haces en un concierto de música clásica la gente comenzará a quejarse y a decirte que te calles.

La música es una constante en la programación cultural alfasina

Entrevista por Nico van Looy

 

Amores percussion, Maria Maica, Elia Casanova in Alicante and International Chamber Orchestra in Alfas del Pi

 

Three concerts in four days…

Despite Spain’s rising number of coronavirus cases, concert halls are open. The audiences wear masks, seat suitably distanced, regularly disinfect their hands, have their temperatures checked and wait in an orderly fashion to be dismissed at the end. 

In one of the more memorable musical evenings, part of ADDA Alicante’s contemporary music festival, percussion group Amores with sopranos María Maciá, and Èlia Casanova presented a programme of Stockhausen and Hildegard of Bingen. It’s not often that works separated by 800 years are programmed side by side. And it is even less likely they will connect with the narrative. Three plain song pieces by Hildegard von Bingen were performed by Èlia Casanova and these were interposed with ten of the Tierkreis, twelve zodiac pieces by Stockhausen. This constituted thirteen pieces and so the concert was called Thirteen, Dreizehn.

Now this number, with its connotations of bad luck, the devil and betrayal, seemed to be significant in the concert’s narrative. As the evening progressed, a transformation took place which, eventually, was seen not as a transformation at all, merely a nuance of interpretation.

Assisted occasionally by a synthesizer Èlia Casanova began by singing Hildegard‘s plainsong on Christian texts. She wore white, though with a thin black veil, and apparently sang from an open book of light. She also, just once, used a musical box, which also served to remind the audience that the Stockhausen pieces were originally written for that medium.

At the end of Èlia Casanova’s first piece, María Maciá, dressed all in black, appeared. It was clear from the very moment of her entry that that this is a very different version of womanhood from the contemplative nun that was Hildegard of Bingen. María Maciá then sang, alongside the percussion trio, four of the ten chosen zodiac pieces. There followed another Hildgard plainchant, three more Zodiac pieces, another plainchant and then the final three Zodiac signs, the last one featuring both sopranos, united in their mutual transformation.

The sung part of Stockhausen‘s music consisted of vocalized seductive syllables and sounds associated with each astrological sign, including in Pisces singing underwater! What you can probably see coming is these two different versions of womanhood seemed to influence one another, transforming the purity of Hildegard into something more earthy and earthly. This also happened musically, as the last of the plainchant developed an accidental here or there, adopted a rhythmic character and was thus transformed into a pop song, jazz singing or even blues.

The transformation was complete, both personal and musical, but the musical changes had been minimal, reminding us of the fundamentally modal character of popular music to this day. And so an unlikely juxtaposition made perfect narrative sense.

The two concerts of La Socieded de Conciertos de la Musica Clasica were structured more conventionally. Violinist Joaquin Palomares led the International Chamber Group in both concerts, but in different formats, a quartet which never actually played as a quartet and an octet that behaved at times like an orchestra.

In the quartet concert, we had the Sonata opus 3 no.4 for two violins of Leclair, Beethoven’s Sonatensatz duo for viola and cello, the Madrigals of Martinu for violin and viola and finally the Mozart Divertimento No1 K39b for string trio.

And then on the Saturday we heard the octet in Elgar’s Serenade, Tchaikovsky’s Nocturne for cello and orchestra, Ernest Bloch’s Prayer for the same grouping and Piazzolla’s Tango Ballet.

The evening was completed by a performance of Mendelssohn’s Octet which, as ever, created its own space and time. Four days, three concerts and almost every work in a different musical style.

A Culture of Benidorm

Sunday morning choir at the harbour

Mention Benidorm and with it, by implication, the concepts of package tourism, hotel buffets, British bars with one euro a pint lager, northern English Working Men’s Club turns imitating something neither themselves nor their audience have ever been, lobster-impersonating spit-burnt sunbathers and fried English breakfasts with the bacon already coated in tomato sauce, and I would bet that very few punters would auto-associate the phrase “cultural experience”. More likely, perhaps, might be the image of over-revelled revellers spewing out from the industrial-sized, garish and scruffy discos along the strip at nine in the morning, seated wavering by the roadside amidst the split, cracked and squashed plastic waste which these no doubt environmentally aware individuals seem to generate by the ton.

Benidorm, certainly, is not Spain. Like many other popular mass tourism resorts around the world, it has an identity which is quite apart from its host country or hinterland. Benidorm is not Spain in the same way, perhaps, that Kuta is not Bali, Nice not France, nor Acapulco Mexico. On the same scale, Blackpool is Britain! In effect these places are melting pots of imported identity, usually with a strong flavour of the largest group of visitors. In the case of Benidorm, of course, it’s the Brits. A fortnight in Benidorm can offer about as much exposure to Spanish culture as the experience of September lights in Blackpool informed the visitor of the Lancashire cotton industry. (The past tense is highly relevant here.) Equally, Benidorm juxtaposed with the word “culture” might vie for a definition of “oxymoron”, alongside German with humour, Ireland with culinary and British with honest. (I may borrow here and there from our working Men’s Club humour tradition, but perhaps employing a consistently different skin colour!)

Benidorm is known for its seven kilometres of perfectly kept, clean beaches, its year round tourism, its millions of visitors. It has fine places to eat in its old town and environs. It has nightlife, theme parks and five star golf resorts. It is surrounded by mountains, has an island nature reserve. And in a European sense, the area as a whole is truly cosmopolitan and increasingly sophisticated.

So when my wife and I came here about five years ago to claim a November base while we examined the possibility of a life-changing shift from work-a-day pressures, our prime goal was to investigate whether, near this tourism megalith, there might be space for a small rental business, aimed at those who might crave proximity to the iniquitous den whilst also wanting to retain a suburban distance from the rasping motorbikes, the hen and stag parties, the beachfront Harley Davidson pubs, the plastic glass discos and even the line dancing. Well we found our place and took the plunge. What we had not bargained for was “the culture”.

In that first month, as late-booking package tourists ourselves, we were making our first visit to mainland Spain for 24 years and we were pleased to find an odd festivity or two. Having lived here for a few years we now know, of course, that it’s actually quite hard to avoid them! The Benidorm town band – symphonic bands are the Valencian tradition, we now know – did a free concert in the salubrious Benidorm Palace, a place whose usual show apes the Folies Bergeres. The local choral society did the Venusburg music from Tannhauser alongside original compositions for the band and some populist offerings. We sought and found a sub-set of the band doing a jazz and Latino evening at the CAM Bank auditorium where, another night, there was a chamber music recital. Just along the road at the Cultural Centre in Alfaz del Pi there was an American pianist who had studied in Barcelona playing Montsalvatge.
Similarly, we found a soprano giving opera arias in Calpe.

And so we bought the place and we were owners of a house with two apartments, a beautiful Mediterranean garden, proximity to the tourist hub, but still very much a part of its own town, a place with outstanding local services. Our aim was limited, pragmatic and clear. After some fifty-six years of unbroken professional employment between us, we decided that a change was potentially better than a rest. We had already lived and worked in five countries and had extended experience of several others, but we had also concluded that pounds of flesh weigh the same the world over. Though we had gained a few of these over the years, having them occasionally demanded and extracted ran the risk of their being ripped from critical areas. Over the years the pay had been good, the pressure significant and, overall, the rewards worth the pain. But times change, lives change, priorities change and people reach fifty.

This was the time to do something different, to trade income for quality. We bought a house in La Nucia, just five kilometres from Benidorm’s beaches, the town’s skyscraper hotels visible from our front balcony. Our aim was to establish our own niche business renting the two bedroom garden apartment while we lived a modest if sometimes indulgent life on the first floor. We have now been doing this for more than four years, have an established clientele and basically have achieved what we wanted to achieve. We will not get rich from the trade. That was never our goal. From the start we wanted to offer simple, clean, affordable accommodation at a reasonable price, modelling our pitch on the kind of place middle class backpackers like ourselves would find both satisfying and a little surprising at the price. And it has worked well. What we had not bargained for was the “culture”.

For some sixteen of our thirty or so post-graduation years we had lived in London. We were vultures of the cultural type whenever energy levels ran to it. We were friends of the English National Opera during its ‘power house’ years. I was a teacher and, during school holidays, used to walk from Balham to central London for the lunchtime concerts, St James’s in Piccadilly being my favourite venue. Then we moved to Brunei and then to the United Arab Emirates. In Brunei we were members of the Music Society and helped to organise concerts. In Abu Dhabi, cultural events were very much in the purview of the diplomatic and private sector people, and there was and remains a vibrant cultural life in the city which, after all, is the nation’s capital. So we were able to attend good quality cultural events, comprising mainly music, theatre and visual arts, in both places. And then we came to Spain.

Our initial visit had suggested that there was more going on in this sphere than a browse through the package tour brochures might suggest. But if I was to relate that in the last eight months we have been to four operas, four full orchestral concerts, ten chamber music recitals, five local festivities, an international film festival, uncountable art exhibitions and goodness knows what else – and furthermore if I were to qualify this by saying that not once did we have to travel more than ten kilometres from home, would you associate this with Benidorm and the Costa Blanca? And, if you are mildly surprised by what I have just claimed, it would probably further surprise you to learn that in addition to this, Benidorm itself is building a new cultural centre, that ten kilometres down the road the new Villajoyosa Cultural Centre is about to open and that this year La Nucia, our home town, itself opened a 600-seat concert hall and a 3000-seat outside auditorium.

Perhaps I need to re-state how local is my claim. About thirty kilometres down the road from Benidorm is Alicante, a regional centre with a nineteenth century theatre presenting a full programme of ballet, drama and opera. About a hundred and forty kilometres north is Valencia, where the programme of the spectacular new Reina Sofia opera house is coordinated with those of New York’s Met and London’s Covent Garden. What I have described excludes those venues and only includes what can be found within ten kilometres of where we live, within ten kilometres of Benidorm, a cultural paradise.

You may have guessed that we are very keen on music, my wife and I. But we are also keen on theatre, dance, painting and the arts in general. We don’t tend to go to pop festivals, but if we did we have those locally as well.

Why not check out the listings for La Nucia, Altea, Benidorm, Alfaz del Pi, Villajoyosa and Finestrat? Choose your time of year and you could attend a superb musical event every night of your stay and I guarantee that the performance standard will be as good as anywhere. And if you can also take in Joachim Palomares and his ensemble playing their arrangements of Piazzolla tangos, or Altea’s April opera week or La Nucia’s Les Nits festival, you are in for a real treat. And when Benidorm’s new cultural centre is open, imagine glossy package tour brochures offering deals inclusive of stalls seats for Puccini or a performance of Steve Reich’s Drumming! Followed, of course, by a one euro pint of lager, bacon and eggs and a northern comic, perhaps.

Saturday, 11 August 2007