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Olivier Messiaen: 100 Años

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Olivier Messiaen: 100 Años REVISTA DE MÚSICA Año XXIV - Nº 236 - Diciembre 2008 - 6,50 € Año XXIV - Nº 236 Diciembre 2008 DOSIER Olivier Messiaen: 100 años ENCUENTROS Charles Mackerras ACTUALIDAD Richard Egarr REFERENCIAS Idilio de Sigfrido de Wagner 1001 discos scherzo-CESC.indd 1 18/11/08 17:49:38 AÑO XXIV - Nº 236 - Diciembre 2008 - 7 € 2 OPINIÓN Religión y cantos de pájaros Enrique Igoa 114 CON NOMBRE Las lecciones de PROPIO independencia 6 Richard Egarr (entrevista con Pierre Boulez) Pablo J. Vayón Bruno Serrou 120 Pour Messiaen 8 AGENDA Santiago Martín Bermúdez 124 Pájaros en el cielo hispano 16 ACTUALIDAD German Gan Quesada 130 NACIONAL Un arco iris teológico Harry Halbreich 136 44 ACTUALIDAD Una guía de escucha INTERNACIONAL Francisco Ramos 142 58 ENTREVISTA ENCUENTROS José Ramón Encinar Charles Mackerras Juan Antonio Llorente 146 José Luis Pérez de Arteaga 64 Discos del mes EDUCACIÓN Pedro Sarmiento 152 65 SCHERZO DISCOS JAZZ Sumario Pablo Sanz 154 113 DOSIER Olivier Messiaen LA GUÍA 156 CONTRAPUNTO Norman Lebrecht 160 Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Manuel García Franco, José Antonio García y García, Georgina García-Mauriño, Juan García-Rico, José Guerrero Martín, Harry Halbreich, Fernando Herrero, Bernd Hoppe, Enrique Igoa, Paul Korenhof, Antonio Lasierra, Norman Lebrecht, Fiona Maddocks, Bernardo Mariano, Santiago Martín Bermúdez, Leticia Martín Ruiz, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Aurelio Martínez Seco, Blas Matamoro, Juan Carlos Moreno, Antonio Muñoz MolinaMiguel Ángel Nepomuceno, Rafael Ortega Basagoiti, Josep Pascual, Enrique Pérez Adrián, José Luis Pérez de Arteaga, Javier Pérez Senz, Paolo Petazzi, Francisco Ramos, Arturo Reverter, Pablo L. Rodríguez, Stefano Russomanno, Ignacio Sánchez Quirós, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Carlos Singer, Franco Soda, Christian Springer, José Luis Téllez, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J. Vayón, Juan Manuel Viana, Albert Vilardell, Carlos Vílchez Negrín, Reinmar Wagner. Traducciones: Rafael Banús Irusta y Blas Matamoro (alemán) - Enrique Martínez Miura (italiano) - Barbara McShane (inglés) Juan Manuel Viana (francés) Impreso en papel 100% libre de cloro Esta revista es miembro de ARCE, Asociación de Revistas Culturales de PRECIO DE LA SUSCRIPCIÓN: España, y de CEDRO, Centro Español de Derechos Reprográficos. SCHERZO es una publicación de carácter plural y no pertenece ni está adscri- por un año (11 Números) ta a ningún organismo público ni privado. La dirección respeta la libertad de expresión de sus colaboradores. Los textos firmados son de exclusiva respon- sabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. España (incluido Canarias) 65 €. Europa: 100 €. Esta revista ha recibido una subvención de la Dirección General del Libro, Archivos y Biblio- EE.UU y Canadá 115 €. tecas para su difusión en bibliotecas, centros culturales y universidades de España, para la Méjico, América Central y del Sur 120 €. totalidad de los números editados en el año 2008. 1 OPINIÓN EDITORIAL MÚSICOS DE VERDAD n el presente número de SCHERZO tienen una presencia importante los directores de orquesta. Las entrevistas a José Ramón Encinar y sir Charles Mackerras y el artículo de nuestro colaborador Norman Lebrecht sobre Gergiev y Harding ponen Esobre el papel distintos aspectos de la realidad de este oficio en el que reposa buena parte del atractivo mediático de la música, incluso cuan- do a ésta se le dota de un morbo un tanto fatigoso. Coinciden entrevistados en nuestras páginas dos directores como Encinar y Mackerras, es decir, dos maestros que no pueden estar más lejos de los fastos del marketing, del amor por la cáscara de la música más que por su esencia, dos maestros a los que se les conoce y se les admira por su obra y no por lo que el aire pueda ir construyendo a su alrededor. Dos maestros que igual que hablan con la batuta pueden hacerlo con la pluma y quedarse tan anchos. Véase, si no, el discurso de ingreso de Encinar en la Real Academia de Bellas Artes o los traba- jos de investigación de Mackerras sobre Janácek o Mozart. La música española le debe mucho a José Ramón Encinar, que ha estrenado tantas y tantas obras nuevas desde su doble condición de artista e intelectual. A veces, con mucha frecuencia, nos olvidamos — OPINIÓN o pasamos por alto cuidadosamente— ese componente intelectual del músico, que además de un artesano ha de ser un artista y, como tal, un conocedor de la cultura con la que trabaja: esa que, sea del tiempo que sea, y más aún si lo es del propio, lleva consigo, inevitablemente, toda la tradición en que se sustenta. Y a pesar de eso, de los méritos que atesora, la sensación es la que acompaña a tantos buenos directo- res españoles: siempre hay una dificultad añadida para traspasar fron- teras, para dar a conocer un trabajo bien hecho cuya falta de repercu- sión exterior hace que disminuya la interior y se piense siempre en la preeminencia del producto foráneo, como si no fuéramos capaces de medirnos por nosotros mismos. Muchos de quienes hayan asistido a la versión de concierto de La walkyria dirigida por Víctor Pablo Pérez a la Orquesta Sinfónica de Galicia y a un formidable elenco de cantan- tes habrán podido preguntarse legítimamente en qué el maestro bur- galés puede ser inferior, por poner un ejemplo, al oxoniano —y tan deseado en estos días por el Teatro Real— Daniel Harding, epítome, al parecer, de todas las virtudes y remedio de todos los males. No se trata ni de comparar porque sí ni de preferir lo nuestro a ultranza — ese chovinismo del que desde siempre hemos abominado en SCHER- ZO— sino de mirar lo que sucede con la mayor limpieza posible. Y el otro protagonista es sir Charles Mackerras, uno de esos músi- cos que engrandecen su profesión a través de años de dedicación, de investigación, de amor al trabajo y de honradez a prueba de oropeles y mercadotecnias. Iniciador, como al paso, como quien no quiere la cosa, de la renovación en la interpretación de la música del barroco y el clasicismo y hoy inteligente caminante por una tercera vía que se muestra bien fecunda, descubridor de Janácek para el público de fue- ra del ámbito checo y eslovaco, magnífico director de foso curtido en mil batallas escénicas, Mackerras es el artista íntegro que dedica a la música su esfuerzo por encima de cualquier otra ambición que no sea la de hacer las cosas lo mejor posible. Dos ejemplos, pues, de distintas generaciones, de edades, por tan- to, diferentes, con intereses estéticos diversos. Pero también dos mues- tras de que el mundo de la dirección de orquesta está hecho también de rigor y de seriedad. De imaginación y de amor. Ya que cada vez es más difícil encontrar al animal mediático que tire de este trabajo otrora tan sometido a su propia mitificación, no está de más una cura de sen- satez, una dosis suficiente de realismo para que la vida siga. 2 OPINIÓN REVISTA DE MÚSICA $xR ;;,9 1 'LFLHPEUH Ą La música extremada UNA ILUMINACIÓN Año XXIV - Nº 236 Diciembre 2008 DOSIER Olivier Messiaen: Diseño 100 años ENCUENTROS de portada Charles Mackerras ACTUALIDAD Argonauta Richard Egarr REFERENCIAS na tarde de primavera de 1976, Idilio de Sigfrido Foto portada: de Wagner mientras iba conduciendo por Rafa Martín una carretera de montaña a la orilla del Pacífico, el composi- Edita: SCHERZO EDITORIAL S.L. Utor John Adams tuvo una revelación C/Cartagena, 10. 1º C que iba a cambiar el curso de su vida. 28028 MADRID JOHN ADAMS Teléfono: 913 567 622 Aún no había cumplido los treinta FAX: 917 261 864 Internet: www.scherzo.es años. Desde que era niño las canciones E mail: de Broadway que cantaba en casa su Redacción: [email protected] madre y las notas del clarinete de su Administración: [email protected] padre lo habían sumergido sin incerti- Presidente: Santiago Martín Bermúdez dumbre en la felicidad de la música. Su primera juventud, en los campus uni- versitarios de los años sesenta, había sido una mezcla de estudios musicales REVISTA DE MÚSICA rigurosos y de abandono jovial a las Director: Luis Suñén tentaciones de la época, desde el rock y las drogas y el activismo político a los Redactor Jefe: Enrique Martínez Miura experimentos sonoros de John Cage. A Edición: Arantza Quintanilla Adams no había música que no le gus- Deborah O’Grady Maquetación: Iván Pascual tara: el jazz de Coltrane y Miles Davis, el pop de los Beatles y de los Beach estado echando de menos cada Fotografía: Rafa Martín Boys, las indagaciones psicodélicas en momento de los últimos años: una Secciones los blues de The Doors, Jimi Hendrix y emoción sostenida e impúdica, una Discos: Juan Manuel Viana Janis Joplin. Sus aficiones eran amplias voluntad de expresar plenamente los Educación: Pedro Sarmiento e indiscriminadas, pero su credo estéti- sentimientos humanos, justo lo que Jazz: Pablo Sanz co se fue inclinando por los dogmatis- estaba más proscrito en el credo de Libros: Enrique Martínez Miura mos de la extrema vanguardia, compli- John Cage o en el Stockhausen, en el Página Web: Iván Pascual cados con una experimentación elec- de Morton Feldman y Babbitt, los héro- trónica que en esa época tenía una es forzosos que se había impuesto a sí Consejo de Dirección: Javier Alfaya, Manuel García Franco, Santiago Martín Bermúdez, Enrique cosa arcaica de cintas magnéticas y cir- mismo. Pérez Adrián, Pablo Queipo de Llano Ocaña, cuitos asegurados con esparadrapos. “No era sólo música sobre el Arturo Reverter Hacia 1972, en su empeño por agregar deseo”, recuerda Adams. “Era deseo en Departamento Económico: José Antonio Andújar a la música los sonidos casuales, se vio sí misma”.
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