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El Virtuosismo Joaquín Gaztambide Joaquín Achúcarro Segunda De REVISTA DE MÚSICA Año XXVII - Nº 279 - Noviembre 2012 - 7 € Año XXVII - Nº 279 -Noviembre 2012 DOSIER El virtuosismo ENTREVISTA Joaquín Achúcarro ACTUALIDAD Joaquín Gaztambide reFERENCIAS Segunda de Brahms 30/10/12 NICOLAS HODGES, piano Obras de J. S. Bach, W. Rihm y H. Birtwistle 04/12/12 LLUÍS CLARET, violonchelo Integral de las Suites para violonchelo solo I Obras de J. S. Bach, J. Guinjoan y J. Navarro 19/12/12 LLUÍS CLARET, violonchelo Integral de las Suites para violonchelo solo II Obras de J. S. Bach, T. Garrido y M. Ribera 19/02/13 ISABELLE FAUST, violín Obras de J. S. Bach, H. Lachenmann y G. Kurtág 08/03/13 ANDREA BACCHETTI, piano Obras de J. S. Bach y L. Berio Centro 18/04/13 PIERRE HANTAÏ, clave Nacional Obras de J. S. Bach y D. Scarlatti 27/05/13 ELISABETH LEONSKAJA, piano de Difusión Obras de J. S. Bach, A. Schnittke y D. Shostakóvich 25/06/13 MICHAEL NYMAN, piano y órgano Obras de J.S. Bach y M. Nyman Musical MODERN BACH AUDITORIO NACIONAL DE MÚSICA Sala DE CÁMARA | 19:30h Ciclo FRONTERAS 20/11/12 UTE LEMPER, voz | CUARTETO VOGLER 01/03/13 FRETWORK | RICHARD BOOTHBY, director 24/04/13 NEOPERCUSIÓN | MARKUS STOCKHAUSEN, trompetas y electrónica 26/06/13 CUARTETO KRONOS CICLO A 30/11/12 CUARTETO DE TOKIO 17/12/12 BERTRAND CHAMAYOU, piano 10/01/13 CUARTETO BRODSKY 29/01/13 DANIEL HOPE, violín | SEBASTIAN KNAUER, piano 22/02/13 JÖRG WIDMANN, clarinete | CLAUDIO BOHORQUEZ, violonchelo | KATJA SKANAVI, piano 13/03/13 BCN216 | IÑAKI ALBERDI, acordeón y dirección 24/05/13 CUARTETO KOPELMAN | ELISABETH LEONSKAJA, piano SERIES 20/21 SERIES 20/21 www.cndm.mcu.es © Pilar Perea Entradas Público General Jóvenes Último Minuto (< 26 años) Fronteras, Bach M. 10€ / 15€ 4€ / 6€ Ciclo A 7€ / 10€ 2,80€ / 4€ www.entradasinaem.es - 902 22 49 49 Pantone 186c cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 BachSeCNDMsch6.indd 1 19/10/12 14:07 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 370C | cmyk 50/0/100/25 pantone: 2935C | cmyk 100/46/0/0 pantone: 131C | cmyk 0/32/100/9 pantone:104C | cmyk 0/3/100/30 Pantone 186c | cmyk 100/81/0/4 pantone: 328C | cmyk 100/0/45/32 pantone: 370C | cmyk 65/0/100/42 pantone: 208C | cmyk 0/100/36/37 279-Pliego 1 23/10/12 13:17 Página 1 AÑO XXVII - Nº 279 - Noviembre 2012 - 7 € 2 OPINIÓN Escuelas pianísticas Arturo Reverter 84 CON NOMBRE Virtuosos PROPIO Jesús Ángel León 88 6 Joaquín Gaztambide El virtuosismo español Enrique Mejías García Andrés Ruiz Tarazona 92 Entrevista con Francesco 8 AGENDA Nicolosi Juan Antonio Llorente 98 16 ACTUALIDAD NACIONAL ENCUENTROS Joaquín Achúcarro 34 ACTUALIDAD Luis Suñén 102 INTERNACIONAL EDUCACIÓN Pedro Sarmiento 106 42 ENTREVISTA Roland Villazón JAZZ Bjørn Woll Pablo Sanz 107 46 Discos del mes LIBROS 108 47 SCHERZO DISCOS LA GUÍA 110 Sumario CONTRAPUNTO 83 DOSIER Norman Lebrecht 112 El virtuosismo Colaboran en este número: Julio Andrade Malde, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, José Antonio García y García, Juan García-Rico, Bernd Hoppe, Enrique Igoa, Paul Korenhof, Norman Lebrecht, Jesús Ángel León, Juan Antonio Llorente, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Aurelio Martínez Seco, Blas Matamoro, Enrique Mejías García, Erna Metdepenninghen, Juan Carlos Moreno, Antonio Muñoz Molina, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Francisco Ramos, Elisa Rapado Jambrina, Arturo Reverter, Barbara Röder, Pablo L. Rodríguez, David Rodríguez Cerdán, Andrés Ruiz Tarazona, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Christian Springer, Luis Suñén, José Luis Téllez, Eduardo Torrico, Jesús Trujillo Sevilla, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J. Vayón, José Luis Vidal, Reinmar Wagner, Bjørn Woll. PRECIO SUSCRIPCIÓN: Esta revista es miembro de ARCE, Asociación de Revistas Culturales de por un año (11 Números) España, y de CEDRO, Centro Español de Derechos Reprográficos. SCHERZO es una publicación de carácter plural y, desde el año España (incluido Canarias) 70 €. 2012, cuenta con la colaboración de la Fundación BBVA, Europa: 105 €. manteniendo su carácter de revista no adscrita a ningún organismo EE.UU y Canadá 120 €. Con la colaboración de: público ni privado. La dirección respeta la libertad de expresión de Méjico, América Central sus colaboradores. Los textos firmados son de exclusiva y del Sur 125 €. responsabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. 1 279-Pliego 1 23/10/12 13:17 Página 2 OPINIÓN EDITORIAL EDUCACIÓN: PARADOJAS Y CONTRADICCIONES os niños que empezaban la educación primaria el año en que se publicó el Informe Delors tienen hoy veintidós años. En el Informe Delors la UNESCO buscaba la forma de construir un mundo mejor a través de la educación. Hoy, más que la voz de la UNESCO, escuchamos la de la LOCDE, cuyo Informe PISA nació exactamente un año después de publicarse el Informe Delors. Nos interesa el Informe PISA porque nuestro gobierno le da una especial importancia para el diseño de su política educativa. El creciente protagonismo de la OCDE a través del Informe PISA indica que las propuestas para mejorar la educación se han vinculado últimamente con el progreso económico. En parte es lógico, aunque sólo sea porque el progreso económico y la estabilidad financiera son los objetivos de la OCDE, pero el Informe PISA tiene un problema: que la OCDE, cuyo fracaso en el cumplimiento de sus objetivos está a la vista, propone evaluar los sistemas educativos según el grado de cumplimiento de sus objetivos. Un problema que afecta a la mayoría de los países y que se extiende a lo lar- go de varias décadas no es un problema de la educación en particular, sino un problema de la humanidad en general. Es uno de los mayores retos a los que se enfrenta una sociedad y, lejos de afectar a una asignatura, a una universidad, a un sindicato, a un ministerio o a una comunidad autónoma, afecta a todo aque- llo que es importante para generaciones y generaciones de personas. En ese OPINIÓN contexto, las decisiones de política educativa que se toman en España en rela- ción con la educación pueden parecer más o menos acertadas, pero son sobre todo preocupantemente pequeñas frente a la dimensión del problema. La educa- ción no se merece la cortedad de miras con que se establecen es España sus principales parámetros. El marco legal, por ejemplo, es objeto desde el principio de la democracia de una disputa política permanente. Las leyes de educación — y se prepara una nueva— se utilizan como armas arrojadizas del debate político. El enorme coste económico y social de este juego no parece importarnos dema- siado, ya que nos apuntamos con alegría a apoyar esta o aquella ley, como si la educación fuera una cosa de hinchas. Por eso es irritante tener que detenerse en detalles cuando se ve que las macroestructuras van a seguir generando disfunciones, entre ellas un sinfín de contradicciones: la próxima ley de educación defiende la necesidad de “una reforma práctica, que permita desarrollar al máximo el potencial de cada alum- no”, pero al mismo tiempo anuncia cambios que menoscaban seriamente parte del potencial que dice defender: nada menos que el potencial musical de los españoles. La ley parece descubrir que la escasez económica es el antídoto de todos los problemas: tasas que suben, despidos, aumento del número de alum- nos por clase, cierre de centros, retirada de ayudas y becas, etc. No es de recibo decir que todas estas medidas contemplan la equidad y refuerzan la calidad. En nombre de la autonomía de los centros se eliminan aquellos que disfrutaban de cierta autonomía. Se pone como ejemplo a Finlandia, pero se toman medidas que jamás se aceptarían en Finlandia. Se habla de creatividad, emprendimiento o imaginación, pero se acentúa la estandarización. En música, la ley propone redu- cir las horas y los profesores de música en todas las etapas y elimina el único bachillerato que abría la puerta a la especialización musical. La música es irreemplazable en la vida de millones de personas. Cuando se citan los beneficios que la música aporta al aprendizaje de las matemáticas se olvida que la música es una disciplina per se. La razón por la que la música debe estar presente en la educación no es que nos ayude a desarrollar el pensamiento crítico, la concentración o el trabajo en equipo. La música es importante porque nos permite crecer en direcciones que sólo existen en la música. La música y su práctica ocupan un lugar importante en el desarrollo de las capacidades y mere- cen por ello un espacio propio y una atención especial, y no ser tratada como un fleco de la actividad educativa. No eran estas las contradicciones a que se refería el filósofo francés Jacques Rancière cuando pedía que el acto de enseñar no perdiese la conciencia de las paradojas que le dan sentido. El acto de enseñar necesita ser paradójico, pero también necesita desarrollarse en un ambiente de respeto que no se está practi- cando hacia la educación en general ni hacia la educación musical en particular. 2 279-Pliego 1 24/10/12 18:56 Página 3 OPINIÓN La música extremada NOVELA MÚSICA Diseño de portada Argonauta in proponérmelo Foto portada: me he encontrado Gabo / DG de nuevo sumer- gido en Proust, y Edita: SCHERZO EDITORIAL S.L. Sme he dado cuenta una C/Cartagena, 10. 1º C 28028 MADRID vez más de que, junto a Teléfono: 913 567 622 Cervantes, es el escritor FAX: 917 261 864 Internet: www.scherzo.es a quien más amo, y qui- E mail: zás el único cuya lectura Redacción: [email protected] más se parezca para mí Administración: [email protected] a la experiencia de la Presidente: Santiago Martín Bermúdez música.
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