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Festivales De Verano Kurt Masur Till Fellner Salvatore Sciarrino Kleiber

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Festivales De Verano Kurt Masur Till Fellner Salvatore Sciarrino Kleiber REVISTA DE MÚSICA Año XX - Nº 197 - Mayo 2005 - 6,30 DOSIER Festivales Nº 197 - Mayo 2005 SCHERZO de verano ENCUENTROS Kurt Masur ACTUALIDAD Till Fellner Salvatore Sciarrino DISCOS Kleiber en DVD 9778402 134807 9100 7 AÑO XX Nº 197 Mayo 2005 6,30 € 2 OPINIÓN DOSIER Festivales de verano 121 CON NOMBRE PROPIO ENCUENTROS 8 Till Fellner Kurt Masur Rafael Banús Irusta Bruno Serrou 144 10 Salvatore Sciarrino Carmelo Di Gennaro EDUCACIÓN Conciertos didácticos 12 y educación musical AGENDA Manuel Cañas Escudero 150 18 ACTUALIDAD EL CANTAR DE NACIONAL LOS CANTARES Arturo Reverter 152 44 ACTUALIDAD INTERNACIONAL JAZZ Llibert Fortuny: vientos de 60 ENTREVISTA esperanza y libertad Pablo Sanz 154 Fabio Bonizzoni Juan Antonio Llorente LA GUÍA 156 64 Discos del mes SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 160 65 Sumario Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Íñigo Arbiza, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, Charles Cohen, Manuel Cañas Escudero, Rafael Díaz Gómez, Carmelo Di Gennaro, Patrick Dillon, Giacomo Di Vittorio, Fernando Fraga, Joaquín García, José Antonio García y García, Mario Gerteis, Gianni Gori, Boris Michael Gruhl, José Guerrero Martín, Federico Hernández, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Nadir Madriles, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Blas Matamoro, Pedro Mombiedro, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Javier Palacio Tauste, Francisco Javier Palomeque, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Pablo Queipo de Llano Ocaña, Francisco Ramos, Arturo Reverter, Barbara Röder, Justo Romero, Stefano Russomanno, Ignacio Sánchez Quirós, Carlos Sáinz Medina, Pablo Sanz, Bruno Serrou, Franco Soda, José Luis Téllez, Pablo J. Vayón, Asier Vallejo Ugarte, Juan Manuel Viana, José Luis Vidal, Albert Vilardell, Carlos Vílchez Negrín. Traducciones Rafael Banús Irusta (alemán) - Enrique Martínez Miura (italiano) - Barbara McShane (inglés) - Juan Manuel Viana (francés) Impreso en papel 100% libre de cloro PRECIO DE LA SUSCRIPCIÓN: Esta revista es miembro de SCHERZO es una publicación de carácter plu- por un año (11 Números) ARCE, Asociación de ral y no pertenece ni está adscrita a ningún España (incluido Canarias) 63 €. Revistas Culturales de organismo público ni privado. La dirección respeta la libertad de expresión de sus colabo- Europa: 98 €. España, y de CEDRO, radores. Los textos firmados son de exclusiva EE.UU y Canadá 112 €. Centro Español de responsabilidad de los firmantes, no siendo Méjico, América Central y del Sur 118 €. Derechos Reprográficos. por tanto opinión oficial de la revista. 1 OPINIÓN EDITORIAL UN PROYECTO EN MARCHA a presentación de la programación de la Orquesta Nacional para la temporada 2005-2006 ha supuesto la constatación, por si hubiera dudas tras la actual, de que el proyecto emprendido por sus actuales gestores, y muy especialmente por su titular, Josep LPons, iba en serio. El planteamiento de una línea argumental como eje de una parte sustancial de los programas —esta temporada Viena 1900, la próxima los mitos en la música— ofrece la posibilidad de ahondar en una época o un tema, no dispersa la programación ni elimina de ella obras fundamentales en el repertorio y preferidas del público. Igualmen- te, la presencia de directores con cosas que decir y que poseen un pres- tigio mediático evidente ayudan a que la orquesta sea de nuevo recono- cida como un lugar al que vale la pena acudir y no como un foco de conflictos larvados que influyen en el rendimiento de sus componentes. En este aspecto, la noticia de que el diálogo ha vuelto entre la Adminis- tración y los profesores, la evidencia de la buena voluntad que cada parte advierte en la otra, supone un respiro de cara a la correcta solu- ción de unos problemas que no pueden seguir hipotecando ni el presen- te ni el futuro de la ONE. Por otra parte, un nuevo diseño administrativo OPINIÓN de los organismos responsables parece estar a la vuelta de la esquina. El proyecto tenía sus riesgos, sobre todo en lo que respecta a hábitos adquiridos por intérpretes y público, poco acostumbrados a emprender la tarea del descubrimiento y más dados a admitir lo heredado sin hacerse demasiadas preguntas. El repertorio es la base, naturalmente, pero la historia de la música es demasiado amplia como para permitir salidas a horizontes bien enriquecedores. Al principio de la temporada que está acabando, parte del público habitual de la ONE temía no se sabe muy bien qué relacionado con una programación que, también sin fundamento, parecía asustarle. Ahora, contrariamente a los malos pro- nósticos, nadie parece rasgarse vestidura alguna y la base de lo hecho en el último año contribuye positivamente a la continuidad en la misma línea. Tampoco hay que olvidar en este seguimiento de un proyecto tan interesante algo que resulta capital: la actitud de la Orquesta Nacional, claramente positiva en los últimos meses. Quizá sea la confianza en un muy competente equipo artístico y técnico, tal vez la perspectiva de solucionar problemas laborales endémicos, pero también —y eso se observa desde cualquier localidad del Auditorio— la presencia de caras jóvenes, de profesionales decididos a comenzar un trabajo en el que parecen saber que sin ilusión y entrega no puede haber buenos resulta- dos. Las plazas que próximamente saldrán a concurso son, en ese senti- do, una buena noticia. La adecuada combinación de veteranos y recién llegados, de gentes capaces de enseñar y abiertas a aprender, de músi- cos dispuestos a involucrarse en un proyecto que puede cambiar la tra- yectoria de la orquesta, aparecen ante los aficionados como un síntoma de recuperación que, ahora sí, habrá de ser definitivo si no queremos, todos, arrojar la toalla. Tiempos de esperanza, pues, para lo que ha sido un viejo conflicto, un continuo desencuentro, una sucesión de frustraciones. Ojalá por fin, y contando con los vaivenes que la vida de una formación sinfónica produce con el tiempo, podamos decir que la normalidad —con lo que ha de implicar de buenos resultados artísticos— ha llegado por fin a la Orquesta Nacional de España. 2 OPINIÓN La música extremada Diseño INVISIBILIDAD DE HAROLD ARLEN de portada Argonauta (Salvador Alarcó y Belén Gonzalez) Edita: SCHERZO EDITORIAL S.L. C/Cartagena, 10. 1º C 28028 MADRID Teléfono: 913 567 622 FAX: 917 261 864 Internet: www.scherzo.es E mail: Redacción: [email protected] Administración: [email protected] Presidente Santiago Martín Bermúdez Judy Garland cantando Over the rainbow en la película El mago de Oz a posteridad, generosa con las explicaba que la sensibilidad musical canciones de Harold Arlen, suele de Arlen empezó a formarse con los ser olvidadiza de su nombre. No cantos religiosos judíos, pero que muy REVISTA DE MÚSICA hace falta ser especialmente afi- pronto, casi un niño aún, se aficionó a Lcionado a la música popular americana los ritmos del jazz, aunque su padre Director del siglo XX para asociar Summertime a hubiera querido que perseverase en Luis Suñén George Gershwin, Cheek to cheek a una carrera muy prometedora y algo Redactor Jefe Irving Berlin, Body and Soul a Cole Por- menos incierta de concertista clásico. Enrique Martínez Miura ter: pero es muy probable que uno Con ligeras variaciones, las influencias Edición Arantza Quintanilla conozca y disfrute Stormy Weather, que alimentan su música son las mis- Maquetación Over the Rainbow, Blues in the night, mas que recibieron Irving Berlin y Daniel de Labra Get happy, sin saber que fueron com- Gershwin, aunque Berlin era un autodi- Fotografía puestas por la misma persona, o que las dacta que nunca aprendió solfeo, y Rafa Martín dé tan por supuestas que ni siquiera Gershwin un compositor remordido Secciones sienta la necesidad de asociarlas al por la ambición de ir más allá de los Discos: nombre de un autor. Over the rainbow musicales de Broadway y de la cultura Juan Manuel Viana es probablemente una de las tres o cua- comercial en la que lo confinaron casi Educación: tro canciones más conocidas del mun- siempre los expertos de ceja levantada. Pedro Sarmiento do, pero su propia familiaridad la vuel- La música más inmediatamente identifi- Libros: Enrique Martínez Miura ve ya impersonal, como si perteneciese cable como americana surge de la mez- Página Web a cualquiera, a Judy Garland y al fondo cla de tradiciones tan ajenas entre sí Iván Pascual colorista y sonoro de El mago de Oz. que parece inverosímil que llegaran a Consejo de Dirección Stormy Weather, Blues in the night sue- encontrarse: los cantos africanos de tra- Javier Alfaya, Manuel García Franco, nan ya como blues intemporales, trans- bajo y de iglesia y los de la liturgia Santiago Martín Bermúdez, mitidos oralmente desde el fondo de judía, el virtuosismo instrumental de Antonio Moral, Enrique Pérez Adrián, Pablo Queipo de Llano Ocaña y Arturo Reverter oscuridad y dolor de la esclavitud en el Europa, las canciones barriobajeras de music hall, taberna y prostíbulo. Y, del Departamento Económico Sur. Pero el autor de todas ellas —esas José Antonio Andújar canciones tan diversas que no parecen mismo modo, esos tres compositores compuestas por la misma persona— ni que nos parecen tan americanos son Departamento de publicidad Cristina García-Ramos (coordinación) tenía la piel oscura ni vivió nunca en el hijos de emigrantes judíos, nacidos en [email protected] Sur de Estados Unidos, aunque frecuen- una clase media baja y laboriosa — Magdalena Manzanares [email protected] tó el Cotton Club de Nueva York en los Gershwin, Arlen— o en la pura miseria DOBLE ESPACIO S.A. primeros años treinta y conoció muy de —Irving Berlin, que se ganaba la vida [email protected] cerca a los mejores músicos negros de de niño cantando a cambio de unas Relaciones externas entonces: en sus melodías hay un aire monedas en los bares más turbios de la Barbara McShane que recuerda la lujosa sensualidad de calle Bowery.
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