“Ein Lully wird gerühmt, Corelli lässt sich loben, J...

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  • Ein Lully wird gerhmt, Corelli lsst sich loben, Nur Telemann allein ist bers Lob erhoben.

    J. Mattheson

  • Ouverture-Suite for viola da gamba,strings and continuo, TWV 55:D6 1 Ouverture 5:19 2 La Trompette 1:14 3 Sarabande 3:36 4 Rondeau 1:29 5 Boure 1:55 6 Courant 2:46 7 Gigue 2:37

    Concerto for recorder, viola da gamba,strings and continuo, TWV 51:a1 8 Grave 4:23 9 Allegro 4:47 10 Dolce 3:49 11 Allegro 4:16

    Concerto for viola da gamba,strings and continuo, TWV 51:A5 12 Soave 3:12 13 Allegro 2:01 14 Adagio 1:57 15 Allegro 3:27

    Concerto grosso, TWV 52:G1 16 Grave 2:41 17 Vivace 2:53 18 Grave 2:20 19 Vivace 2:31

    Ouverture-SuiteBurlesque de Quixotte, TWV 55:G10 20 Ouverture 3:46 21 Le Rveil de Quixotte 1:52 22 Son Attaque des Moulins Vent 1:51 23 Ses Soupirs amoureux aprs la Princesse Dulcine 2:22 24 Sanche Panche bern 1:34 25 Le Galope de Roscinante et Celui dne de Sanche 1:40 26 Le Couch de Quixotte 1:20

    LA SPAGNAAlejandro MarasViola da gamba, cello and director

    Alvaro Maras | recorderPablo Gutirrez & Irene Benito | solo violins

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    Este disco existe gracias a la calidad musical y humana de quienes han construido La Spagna, que no son sino todos y cada uno de los msicos que han tocado con nosotros a lo largo de estos aos. Existe tambin gracias a la confianza de cuantos han credo en nosotros, desde el primero, el maestro Antnio Ferreira, hasta el ms reciente, la Fundacin Juan March, cuya asistencia tcnica ha sido capital a la hora de realizar esta grabacin. Se trata de mi primer disco como solista y director y me llena de alegra haber podido dedicarlo a Telemann, un compositor al que, desde mi punto de vista, no se le profesa toda la admiracin que merece -creo que la calidad y la increble variedad de la msica que integra este disco son buena prueba de ello-. Hemos tenido la suerte de contar con Jess Trujillo para su grabacin, quien ha realizado una toma fiel a la sonoridad que omos nosotros desde dentro de la orquesta y un montaje en que la emocin y el discurso musical han sido precisamente en este orden nuestras prioridades. Ojal el oyente se contagie del buen humor que predomina en esta msica, disfrute de los momentos ms tiernos y emotivos y se deje llevar por este Grand Tour de la mano del genial George Philip Telemann.

    This CD exists thanks to the musical and human qualities of those who created La Spagna. This includes each and every musician that has played with us throughout these years. However, it exists as well thanks to the trust expressed by those who believed in us from the very beginning, like Antnio Ferreira, up to our most recent project, as the Fundacin Juan March, whose technical assistance was key at the moment of carrying out the present recording.This is my first CD in which I am acting as both soloist and director, and I am delighted to have been able dedicate it to Telemann, a composer who, in my opinion, does not receive all the admiration that he deserves. The quality and huge variety of the music included in this CD prove this. We have been lucky to have had Jesus Trujillo with us for this recording. He has managed to capture a sound which is faithful to what we hear from inside the orchestra, as well as the editing process in which the emotion and the musical discourse in this precise order have been our priorities. Hopefully, the listener will be infected by the great sense of humour that prevails in this music, enjoy the highly affectionate and emotional moments, and let themselves be carried away throughout this Grand Tour by the brilliant composer Georg Philip Telemann.

    Alejandro Maras

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    NOTAS AL PROGRAMA

    Georg Philipp Telemann (1681-1767), adems de un msico polifactico y genial, pasa por ser el compositor ms prolfico de la Historia, con ms de 3000 obras en su catlogo. Su talento, su profundidad, su simpata y su espritu emprendedor hicieron de l un hombre respetado y popular comparado a menudo con Hndel o con Bach, quien lo hizo padrino de su hijo Carl Philipp Emanuel. En este disco se escuchan dos formas musicales paralelas y opuestas en la escritura instrumental del barroco: la suite, forma francesa por antonomasia, y el concierto, eminentemente italiano. Telemann se nutre, pues, de estilos opuestos para dar esplendor a la msica alemana, crisol de influencias y centro hegemnico de los nuevos estilos musicales. Y es que la produccin de Telemann, adems de ingente, es de lo ms variado; pese a que en vida se lo consider, sobre todo, un compositor de msica religiosa, su catlogo abarca un sinfn de obras profanas para todos los instrumentos imaginables y en las formas y estilos ms variados. Cuando Telemann entr al servicio del Conde Erdmann von Promnitz, en Sorau (actual Zary, Polonia), este acababa de regresar de Francia; fascinado por la msica que all haba escuchado, le encomend la composicin de nuevas obras en estilo francs. Cuenta Mattheson que Telemann consigui partituras de compositores como Lully o Campra y, a partir de ellas, compuso nada menos que 200 oberturas seguidas de sus correspondientes suites de danzas. Dos de ellas son las que abren y cierran este disco. La primera es tan francesa que est dedicada a la viola da gamba, instrumento que imperaba en la Francia de Luis XIV. Juega un papel solista, pero tambin tiene muchos pasajes al unsono con los primeros violines, integrndola as a la cabeza de la orquesta. Telemann hace un uso fundamentalmente meldico pero muy idiomtico de este polifactico instrumento que conoca tan bien (para l compondra las 12 Fantasas a solo recientemente encontradas, adems de otras muchas obras). Las tres obras siguientes corresponden al genero del concerto. La diversidad de conciertos que escribi Telemann es casi infinita, por lo que cada uno de ellos posee unas caractersticas propias. En el caso del concierto para flauta dulce y viola da gamba, prima el dilogo entre los instrumentos solistas, que fluye entrelazndose con preguntas y respuestas entre la gravedad del primer movimiento, el fandango del segundo, el dulce sosiego del tercero y el carcter festivo y virtuoso del cuarto. El concierto para viola da gamba en la mayor es de lo ms eclctico. Comienza con una suave conversacin entre los violines y el solista que se vuelve intensa y virtuosa en el contrapunto del segundo movimiento. La emocin embriaga en el sublime tercer movimiento, en el que violines y bajo continuo arropan un sollozo ntimo de la viola da gamba, para acabar la obra con un movimiento ligero y desenfadado muy cercano al entonces vanguardista estilo galante. Aunque Telemann se refiere al

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    instrumento solista como viola a secas, la escritura de algunos pasajes en bariolage parece ms apropiada para la afinacin en cuartas de la viola da gamba que para las quintas de la viola da braccio. La penltima obra del disco responde al italiansimo gnero del concerto grosso, en el que un grupo de solistas concierta con el ripieno. S hay en esta obra, a diferencia de la anterior, una unidad estilstica al ms puro estilo corelliano, con un primer movimiento lleno de juegos armnicos sobre un bajo caminante, un segundo movimiento fugado a tres voces, un tercer movimiento lento y cadencial para gloria del violn solista y una giga llena de imitaciones. Si bien es cierto que en el manuscrito figuran dos voces de violn solista y una sola de violn tutti, nosotros nos hemos decantado por escribir una segunda voz de violn tutti para que cada solista tenga su propio ripieno, como sucede en los concerti grossi habitualmente. El disco terminar con la archiconocida Burlesque de Quixotte, una obertura-suite como la inicial que est entre los ms brillantes ejemplos de msica descriptiva que en el mundo ha habido, con la dificultad aadida de que lo hace cindose formalmente a diferentes danzas. La obertura tiene una grandiosidad ya con un punto grotesco que alude, como en las peras, a lo que va a ocurrir ms adelante. El despertar del Quijote es la descripcin de un amanecer progresivo que transmite la energa inconfundible de cuando uno abre los ojos ilusionado por afrontar un da que se presume motivador y emocionante. No tarda en llegar la accin, con el violento Ataque a los molinos de viento, en el que poco cuesta imaginar el ruido de las maltrechas armas de don Quijote mientras rfagas de viento hacen girar las aspas. Telemann busca el contraste total con el siguiente movimiento, Sus suspiros de amor por la princesa Dulcinea. En francs, soupir quiere decir, adems de suspiro, silencio musical; y es que lo ms importante de este movimiento es el silencio, como una respiracin entrecortada, tras la segunda nota de una meloda que no puede ser ms amorosa. Hay de nuevo un gran contraste con el siguiente movimiento, Sancho Panza manteado, donde suenan motivos de burla y se intuye el costoso ascenso y la pesada cada del gordo escudero. Telemann ilustra a continuacin, con dos danzas, el galope de Rocinante y el trote cojo de la mula de Sancho (es un ejercicio paradjico el de describir la cojera en una danza!). La obra y el concierto terminan con un movimiento que en francs se llama Le couch de Quixotte. Se trata de una broma en la que Telemann traslada a La Mancha la ceremonia de le coucher du Roi, que celebraba Luis XIV cada noche; la msica, acelerada, transmite la sensacin de inquietud propia del insomnio, tras una jornada que ha sido agotadora pero tan excitante que no permite conciliar el sueo.

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    PROGRAMME NOTES

    Georg Philipp Telemann (1681-1767), besides being an extremely versatile and brilliant musician, happens to be the most prolific composer in history, with a total catalogue of more than 3,000 compositions. His talent, depth, charm and entrepreneurship made him a well-respected and popular person, often compared with Hndel or Bach, who asked him to be godfather to his son, Carl Phillip Emanuel.In this recording, there are two musical forms of Baroque instrumental writing that are simultaneously parallel and opposites: the suite, the French form par excellence, and the concerto, eminently Italian. Telemann therefore receives the influence of two contrasted styles which helps him to confer brilliance to German music, which is a melting pot of influences and hegemonic centre of new musical styles. Telemanns musical output is not only immense but also highly varied; even though in life he was essentially considered a composer of religious music, his catalogue includes a huge number of secular pieces for every instrument possible and in a great variety of different styles and forms.When Telemann entered to the service of the Count Erdmann von Promnitz in Sorau (now Zary, Poland), the Count had just returned from France; fascinated by the music he had listened to, entrusting therefore Telemann the composition of new pieces in a French style. Matheson relates that Telemann obtained scores from composers such as Lully or Campra and took them as a starting point for the composition of no fewer than 200 overtures, followed by their corresponding suites of dances. Two of these open and close this CD. The first one is so French that it is dedicated to the viola da gamba, an instrument that prevailed in the France of Louis XIV. It serves not only as a solo instrument, but there are also many passages in unison with the first violins, which incorporate it into the head of the orchestra. Telemann uses this versatile instrument that he knew so well in a fundamentally melodic, but highly idiomatic way (he composed the recently discovered 12 Fantasias for viola da gamba, as well as many other pieces for it). The next three pieces of the programme correspond to the genre of the concerto. The diversity of concertos that Telemann wrote is almost infinite, since each of them possesses its individual characteristics. In the case of the concerto for recorder and viola da gamba, the dialogue between solo instruments prevails, which flows through the juxtaposition of questions and answers between the gravity of the first movement, the fandango of the second, the sweet calmness of the third and the festive and virtuosic character of the fourth movement.The concerto for viola da gamba in A major is one of the most eclectic. It starts with a gentle conversation between the violins and soloist that becomes intense and virtuosic with the counterpoint of the second movement. The emotion intoxicates in the sublime third movement, in which the violins and the basso continuo veil an intimate sob of the viola da gamba, the piece

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    ending with a light and relaxed movement, very close to the gallant style, which at that time was considered avant-garde. Although Telemann refers to the solo instrument simply as a viola, the writing of some of the passages in bariolage seems to be more appropriate for the tuning in fourths of the viola da gamba, than for the fifths of the viola da braccio.The penultimate piece of the CD belongs to supreme Italian genre of the concerto grosso, in which a group of soloists spars with the ripieno. Unlike the previous piece, this one shows a stylistic unity in the purest Corellian style, with a first movement full of harmonic interactions based on a walking bass, a three-voice fugue for the second movement, a third slow movement with a cadenza showing off the solo violin and a final gigue, full of imitations. Although it is true that the manuscript shows two lines for solo violins and only one for violin tutti, we decided to write a second line for violin tutti in order that every soloist has their own ripieno, as is habitual in the concerti grossi.The CD ends with the very well-known Burlesque de Quixotte, an overture-suite like the first work of this recording, that is among the most brilliant examples of descriptive music, with the added difficulty that this is done by formally adhering to the different dances. The overture has a grandeur with a grotesque touch that alludes, like in an opera, to what will happen later on.Le Rveil de Quixotte (Quijote waking) is the description of a progressive dawn that transmits the unmistakable energy of when one opens their eyes excited to face a day that they imagine to be motivating and exciting. The action comes quickly, with the violent Son Attaque des Moulins Vent (Attacking the windmills), in which it is not hard to imagine the noise of don Quijotes battered weapons, whilst the gusts of wind make the windmill blades turn. Telemann looks for a total contrast in the following movement, Ses Soupirs amoureux aprs la Princesse Dulcine (His sighs of love for the princess Dulcinea). In French, soupir means besides to sigh musical silence, and indeed the most important in this movement is the silence, just like a hesitant breath, after the second note that is part of a melody that could not be more affectionate. There is again a notable contrast in the following movement, Sanche Panche bern (Sancho Panza bouncing), with taunting motives and where the difficult ascent and the heavy fall of the overweight page can be perceived. Telemann then illustrates through two dances the gallop of Rocinante and the lame trot of Sanchos mule (it is a paradoxical exercise to describe lameness in a dance!). The piece and the CD ends with a movement that in French is called Le couch de Quixotte (Quijote goes to bed). It consists of a joke in which Telemann moves to La Mancha the ceremony of le coucher du Roi, which Luis XIV was celebrating every night. The accelerated music transmits the sensation of a restlessness arising from insomnia after a day that has been exhausting, but so exciting that one feels unable to fall asleep.

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    LA SPAGNA

    El conjunto La Spagna fue fundado por Alejandro Maras en 2009 y adopt su nombre en honor a la meloda que, con este ttulo, son sin cesar en toda Europa entre los siglos XV y XVII. En funcin de la msica abordada, normalmente entre el renacimiento y el primer clasicismo, La Spagna puede presentar disposiciones muy diferentes, desde un reducido grupo de cmara hasta producciones orquestales y opersticas con directores invitados. La Spagna toca con instrumentos originales o copias adaptadas a cada poca y estilo, as como con unos criterios interpretativos de carcter histrico que ayudan a estar ms cerca de la msica en su esencia, tal y como fue concebida por sus autores. Esto no tiene una finalidad arqueolgica, sino puramente artstica, ya que, cuanto ms cerca estemos del autor, ms intensamente podremos expresar las emociones y afectos que l nos ha transmitido. Los msicos que integran La Spagna son jvenes profesionales formados en los conservatorios y escuelas ms prestigiosos de Europa, frecuentes colaboradores de algunas de las orquestas, directores y solistas ms importantes del panorama internacional de la msica antigua. Son la imagen de una nueva generacin de instrumentistas comprometidos no solo con ofrecer una interpretacin impecable, sino tambin con respetar la perspectiva histrica y social de cada repertorio.

    La Spagna ensemble was founded by Alejandro Maras in 2009, taking its name from the popular melody of that name, which was played all around Europe from the 15th to the 17th centuries.Depending on each repertoire, which generally involves renaissance, baroque and early classical styles, La Spagna may have a different line-up, from a small chamber music group to opera and orchestral productions with invited conductors.La Spagna plays with original instruments or copies adapted to each period and style, and is focused on historically informed practice. This doesnt have an archaeological objective, but rather purely artistic: the closer we are to the composers, the more intensely we will be able to convey their emotions.La Spagna players are young professionals educated in the most prestigious conservatoires of Europe, and they are often collaborators amongst some of the most important orchestras, conductors and soloists of early music international scene. They are the image of a new generation of players engaged not only to give an impeccable performance, but also to respect the historical and sociological perspective of each repertoire.

  • Viola da gamba, cello and director Alejandro Maras | viola da gamba by C. Rich (1997) after Colichon

    and cello by M. Alberini (1997) after Montagnana

    RecorderAlvaro Maras | recorder by S. Hirao (1992) after T. Stanesby Jr.

    Solo violinsPablo Gutirrez | anonymous violin (Italy, late 18th c.)

    Irene Benito | anonymus violin (Mirecourt, 1790)

    Tutti violinsBeatriz Ameza | anonymus violin (Austria, late 17th c.)

    Roldn Bernab | violin by J. B. Dworak (1878)M Mar Blasco | anonymus violin (1741)

    Abelardo Martn | anonymus violin (s. XIX)Marta Mayoral | anonymus violin (Mittenwald, 18th c.)

    Adrin Pineda | anonymus violin (Germany, 18th c.)

    ViolasRosa San Martn | viola by J. Pawlikowski (2007)

    Roldn Bernab | viola by C. Camilli

    Continuo cello Pablo Garrido | cello by C. Rich (2012)

    Double-bass Silvia Jimnez | anonymus double-bass (19th c.)

    Harpsichord Jordan Fumad | Franco-Flemish harpsichord by M. Ducornet (1999)

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    ALEJANDRO MARAS, VIOLA DA GAMBA, CELLO AND DIRECTOR

    Alejandro Maras obtuvo los Ttulos Superiores de Violonchelo y Viola da gamba en el Real Conservatorio Superior de Msica de Madrid, tras haber iniciado sus estudios con Enrique Correa y Maria de Macedo. Se traslad a Francia para especializarse en la interpretacin historicista de los repertorios clsico y romntico y ms tarde a Suiza, donde curs, en la Haute cole de Musique de Genve, los Masters de Concierto en Violonchelo barroco y Viola da gamba, con Bruno Cocset y Guido Balestracci, respectivamente. Ha recibido clases de algunos de los mejores violonchelistas del mundo, entre los que se encuentran Christophe Coin, Anner Bylsma o Jaap Ter Linden, y de gambistas como Wieland Kuijken, Jordi Savall, Marianne Muller o Hille Perl.Alejandro Maras es profesor de viola da gamba en el Conservatorio Superior de Msica de Sevilla, director artstico del conjunto barroco La Spagna, miembro del Cuarteto Francisco de Goya y colaborador de grupos como Zarabanda o Forma Antiqva. Ha actuado en una veintena de pases junto a diversos conjuntos de cmara. Como solista, realiza a menudo recitales y conciertos, y ha interpretado en varias ocasiones los solos para viola da gamba de las Pasiones de J.S. Bach. Desde el bajo continuo, ha acompaado a msicos como Hiro Kurosaki o Gilles Colliard y se ha hecho cargo de los recitativos de peras como Don Giovanni de Mozart, Dido y Eneas de Purcell o David et Jonathas de Charpentier.Ha trabajado con directores como Philippe Herreweghe, Marc Minkowski, Ton Koopman, Bruno Weil, Sigiswald Kuijken, Herv Niquet, Lucy van Dael, Paul Agnew, Enrico Onofri o David Stern y grabado para los sellos Warner, Winter&Winter y Columna Msica, as como para numerosas cadenas de radio y televisin de Europa, Amrica y norte de frica.

    Alejandro Maras (Madrid, 1984) began studying cello with teachers Enrique Correa and Maria de Macedo. He obtained his cello and viola da gamba degrees at the Real Conservatorio Superior de Msica de Madrid, in Josetxu Obregn and Pere Ros chairs. Then he moved to Switzerland, where he got two master-concert degrees in baroque cello and viola da gamba, in Bruno Cocset and Guido Balestraccis chairs at the Conservatoire de Genve. He has taken lessons from cellists as Christophe Coin, Anner Bylsma or Jaap Ter Linden and from violists as Wieland Kuijken, Jordi Savall, Hille Perl, Marianne Mller or Laurence Dreyfus. Nowadays he is the Professor of Viola da gamba at the Conservatorio Superior de Msica de Sevilla, the artistic director of La Spagna baroque ensemble and a founding member of the Cuarteto Goya a string quartet specialized in historically informed performance of the Iberian repertoire.

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    As a freelance musician, Alejandro Maras has excelled in chamber music with many different groups. This has provided him an intensive concert activity all around the world. He has been invited to play Vivaldi, Boccherini and Telemann concertos as well as the solos for viola da gamba from Bachs Passions. He played with conductors like Philippe Herreweghe, Marc Minkowski, Ton Koopman, Bruno Weil, Sigiswald Kuijken, Herv Niquet, Lucy van Dael, Paul Agnew and David Stern. From the continuo, he has collaborated with musicians like Hiro Kurosaki or Gilles Colliard, and he has accompanied the recitatives in several opera production in Spain and France. He has taken part in several recordings for labels as Warner Music, Winter&Winter and Columna, just as for many European and American TV and radio channels.

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    ALVARO MARAS, RECORDER

    La flauta de Alvaro Maras es como una voz humana. Esta frase de la mtica Teresa Berganza define como ninguna otra la personalidad artstica de este pionero de la interpretacin histrica en Espaa. Concertista de flauta de pico y traverso, director, creador del conjunto Zarabanda con el que ha recorrido Europa y Amrica, profesor (Real Conservatorio de Madrid y Escuela Superior de Msica Reina Sofa), ensayista y conferenciante, ha grabado para sellos como Philips, Erato y Warner y ha estimulado a algunos de los ms importantes compositores espaoles (Cristbal Halffter, Claudio Prieto, Toms Marco), para que escribieran para su instrumento. La crtica ha reconocido durante ms de un cuarto de siglo sus conciertos como verdaderos hechos culturales.

    lvaro Marass flute is like a human voice. This quotation by the mythical Teresa Berganza defines like no other the artistic personality of this pioneer of the historical performance practice in Spain. As a soloist of both recorder and flute, the director, creator of the ensemble Zarabanda with which he has travelled throughout Europe and the United States, teacher (Real Conservatorio de Madrid and Escuela Superior de Msica Reina Sofa), essayist and speaker, he has recorded for record companies such as Philips, Erato and Warner and has encouraged some of the most important Spanish composers (Christopher Halffter, Claudio Prieto, Toms Marco etc.), to compose for his instrument. For more than twenty-five years, his concerts have been considered cultural phenomena by the critics.

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    PABLO GUTIRREZ, SOLO VIOLIN

    Nacido en Madrid, obtiene su licenciatura superior de musica en en Real Conservatorio Superior de Msica de esta misma ciudad. Inmediatamente despus, comienza a interesarse por la interpretacin con instrumentos de poca influenciado por msicos comoPhilippe Herreweghe, Sigiswald Kuijken, Robert Levin oMarc Minkowski. Invitado como concertino por orquestas como Les Musiciens du Louvre, Les Talens Lyriques, Orchestre de Chambre de Toulouse o la Orquesta Sinfnica Nacional de Bogot,ha tenido la oportunidad de presentarse en los festivales y las salas ms importantes del mundo: Salzburguerfestspiele, Musikverein, Kontzerthause y Staatsoper de Viena, Opera Garnier de Pars, Barbican center of London, Tokio Opera City o Seul Arts Center. Es miembro del Cuarteto Goya y recientemente ha dirigido a Les Musiciens du Louvrecon gran xito de crtica y pblico.

    Born in Madrid, he obtained his masters degree in music from the Real Conservatorio Superior de Msica in Madrid. Immediately after that, he became interested in the performance with period instruments, influenced by musicians such as Philippe Herreweghe, Sigiswald Kuijken, Robert Levin or Marc Minkowski.Invited as guest concertmaster by orchestras such as Les Musiciens du Louvre,Les Talens Lyriques, Orchestre de Chambre de Toulouse or the Orquesta Sinfnica Nacional de Bogot, he has had the opportunity to perform at the most important festivals and venues of the world, including the Salzburger Festspiele, Musikverein Wien, Konzerthaus and Staatsoper of Vienna, Opra Garnier of Paris, Barbican Center of London, Tokyo Opera City or the Seoul Arts Center. He is a member of the Quartet Goya and has recently directed Les Musiciens du Louvre, receiving acclaim from both audience and critics.

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    IRENE BENITO, SOLO VIOLIN

    Integrante del Cuarteto Goya, Irene toca con grupos como Les Passions de lme, la Orquestre de Chambre de Toulouse, Capriccio Barockorchester o Forma Antiqua. Ha tocado bajo la direccin de maestros como Jordi Savall, Franois-Xavier Roth, Sir Colin Davis o Herbert Blomstedt, y grabado para sellos como BIS o Claves. Ha realizado la edicin de tres sinfonas de Friedrich Schwindl para la Haute cole de Musique de Genve. Tras sus estudios superiores en Madrid, se introduce en la interpretacin con instrumentos histricos de la mano de Gilles Colliard y Florence Malgoire. Estudia tambin la viola da gamba con Guido Balestracci. Ha sido profesora en el Conservatorio de Torrelavega y en la Joven Orquesta Sinfnica de Cantabria, y actualmente lo es del Conservatoire de Fribourg (Suiza).

    Member of the Goya String Quartet, Irene performs with groups such as Les Passions de lme, the Orquestre de Chambre de Toulouse, Capriccio Barockorchester or Forma Antiqua. She has performed under directors such as Jordi Savall, Franois-Xavier Roth, Sir Colin Davis or Herbert Blomstedt, and participated in recordings for record companies like BIS or Claves. She undertook the edition of three symphonies by Friedrich Schwindl for la Haute cole de Musique de Genve. After her master studies in Madrid, she was introduced to historical performance practice by Gilles Colliard and Florence Malgoire. She also studies viola da gamba with Guido Balestracci. She has been a teacher at the Conservatorio de Torrelavega and in the Joven Orquesta Sinfnica de Cantabria, and currently teaches at the Conservatoire de Fribourg in Switzerland.

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  • Recorded at Fundacin Juan March (Madrid), July 2017

    Recording, editing and mastering: Jess Trujillo

    microphones Neumann U87, Neumann KM 84, Schoeps CMC5/MK5, DPA 4011

    Recording manager: Antonio Campillo

    Texts: Alejandro Maras (English translation: Gabriela Andres)

    Graphic design: Baud Branding

    Layout: Juan Bautista Garca

    Photography: Andrs Daz (lvaro Mora, p. 20)

    Production: Proyeccin Cultural, SL

    www.laspagna.es

    Twitter: @LaSpagna

    Facebook: facebook.com/laspagna.es

    P & C Lukos Records 2017

    5451CRE80843