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Cubierta Boletin Be. Art. 36 F. Pino Gutiérrez, Sobre la manifesta- PUBLICACIONES ción y el último lenguaje en poesía, DE LA REAL ACADEMIA Valladolid, 1985. E. García de Wattenberg, Las obras de Boletín: restauración y adaptación llevadas a BOLETIN cabo en el Colegio de San Gregorio, Se publica desde 1930. de Valladolid, hasta la instalación del Museo Nacional de Escultura en Discursos: el edificio, Valladolid, 1985. F. Cano Valentín, Por qué y cómo del REAL ACADEMIA DE BELLAS ARTES M. del Val Trouillhet, Recepción públi- cuadro presentado a esta Real Aca- ca como académica de número, Va- demia y otras reflexiones de taller, DE LA PURISIMA CONCEPCION lladolid, 1976. Valladolid, 1986. A. Ramírez Gallardo, Una gran obra A. Sarabia Santander, Las siete lámpa- de la ingeniería romana, el acueduc- ras de una academia, Valladolid, to de Segovia, Valladolid, 1977. 1986. A. Prieto Cantero, El buen cristiano M. Frechilla del Rey, La obra pianísti- Mahudes y los perros Cipión y Ber- ca de Manuel de Falla, Valladolid, ganza, Valladolid, 1977. 1987. J. J. Martín González, El poeta José P. Aizpurúa Zalacaín, Música y músi- Zorrilla y las Bellas Artes, Vallado- lid, 1977. cos de la Catedral Metropolitana de A. Corral Castanedo, Valladolid al filo Valladolid, Valladolid, 1988. de mi infancia (Aproximaciones a J. J. Rivera Blanco, Teoría e historia de una ciudad), Valladolid, 1978. la intervención en monumentos espa- J. Urrea Fernández, La escultura en Va- ñoles hasta el Romanticismo, Valla- lladolid de 1800 a 1936, Valladolid, dolid, 1989. 1980. J. B. Varela de Vega, Cesáreo Bustillo, J. C. Brasas Egido, La actividad pictó- un maestro de capilla vallisoletano, rica en Valladolid durante el siglo Valladolid, 1990. XIX, Valladolid, 1982. M. A. Virgili Blanquet, La escuela cas- M.ª S. Martín Postigo, Tras las huellas tellana de órgano, Valladolid, 1992. de Fray Vicente Velázquez de Figue- S. Andrés Ordax, Iconografía Jacobea roa, Valladolid, 1982. en Castilla y León, Valladolid, 1993. D. Ramos Pérez, El efecto rectificador J. C. Brasas Egido, Elvira de Medina BOLETIN que impuso a la literatura humanísti- de Castro,Valladolid, 1993. ca el hallazgo de un mundo nuevo. El F. A. González, Un niño vuelve a la caso de Pedro Mártir de Anglería en Academia, Valladolid, 1994. Medina del Campo, Valladolid, 1982. B. Prego Rajo, En torno a la música de G. Garabito Gregorio, Las mil y una los primeros tiempos del Camino de mañanas de la Biblioteca, Valladolid, Santiago, Valladolid, 1994. 1982. E. Estévez García, Entre luces y som- J. López de Uribe, Acerca de la Cien- bras (sobre mi experiencia de la pin- cia, la Belleza y el Arte, Valladolid, tura y el grabado), Valladolid 1999. 1982. D. Fernández Magdaleno, Creación J. Díaz González, El Duque de Marlbo- rough en la tradición española, Va- musical contemporánea. El composi- lladolid, 1982. tor Pedro Aizpurúa, Valladolid 1999. L. Vivero Salgado, Recordando al maes- N. García Tapia, Arquitectura y máqui- tro, Valladolid, 1983. nas: El Arco de Ladrillo, símbolo del J. Arribas Rodríguez, Utilidad y belleza Patrimonio Industrial de Valladolid, de las obras públicas, Valladolid, Valladolid, 2000. 1983. E. Wattenberg García, De la galería L. A. Mingo Macías, Concepto, deco- Arqueológica al Museo de Valladolid ración y ornamentación en el hecho (1875-2000), Valladolid, 2000. arquitectónico, Valladolid, 1984. M.ª A. Fernández del Hoyo, Pintura y L. Calabia Ibáñez, Más de medio siglo sociedad en Valladolid durante los de periodistas y periódicos vallisole- siglos XVI y XVII, Valladolid, 2000. tanos, Valladolid, 1985. 36 VALLADOLID 2001 N.O 36 BOLETIN REAL ACADEMIA DE BELLAS ARTES DE LA PURISIMA CONCEPCION VALLADOLID 2001 N.O 36 Sumario BOLETIN 36-2001 Homenajes P. Aizpurúa, A Miguel Frechilla «in memoriam» .................. 9 J. B. Varela de Vega, Una fotografía y una llamada telefónica de Miguel Frechilla .......................................... 11 Academia Asociada al Instituto de España. D. Fernández Magdaleno, Miguel Frechilla, maestro Integrada en la Confederación y amigo ............................................................................. 17 Española de Centros de Estudios J. B. Varela de Vega, Semblanza de Aurelio González ........... 21 Locales del C.S.I.C. J. B. Varela de Vega, Semblanza de Pedro Aizpurúa ............. 29 L. A. Mingo Macías, Premio de rehabilitación arquitectónica (1996-2001) ............................................. 33 Sor Asunción de Santa Ana, La Belleza en la experiencia contemplativa del monasterio de Santa Isabel de © Real Academia de Bellas Valladolid. (Discurso de ingreso como Académica Artes de la Purísima de Honor) y Contestación de la Academia, Concepción por E. García de Wattenberg, .............................................. 45 Comunicaciones Director: D. Luis Alberto Mingo Macías J. Ara Gil, El Monasterio de Santa María de Palazuelos: un frágil testimonio del pasado ....................................... 59 Consejo de Redacción: G. Garabito Gregorio, Don Fadrique Enríquez de D. Joaquín Díaz González Cabrera: un almirante poeta ........................................... 87 D. Antonio Corral Castanedo J. C. Brasas Egido, Rodin y la escultura española D.ª M.ª Antonia Fernández del de su tiempo ..................................................................... 101 Hoyo Colaboraciones Secretario: E. Wattenberg García, La capilla de López de Mella en la D. Jesús Urrea Fernández iglesia de Santa María de Medina de Rioseco ................ 115 J. Urrea, El retablo mayor y los colaterales EDITA: de la Catedral de Valladolid ............................................ 121 Real Academia de Bellas E. Wattenberg García, Una tabla de «Giampietrino» en el Artes de la Purísima Concepción Museo de Valladolid ......................................................... 133 C/ del Rastro, s/n J. Urrea, Las esculturas de Villabrille y Ron del monasterio 47001 Valladolid de San Quirce.................................................................... 137 J. B. Varela de Vega, Cien años de un himno: el del Regimiento Isabel II ......................................................... 139 Depósito Legal: VA. 237.–1992 Vida Académica I.S.S.N. 1132-0788 Informes académicos ............................................................. 147 Imprime: Memoria del curso académico 2000-2001............................. 159 Gráficas Andrés Martín, S. L. Lista de Señores Académicos Paraíso, 8. Valladolid (a junio de 2002) ............................................................... 163 5 HOMENAJES A MIGUEL FRECHILLA «IN MEMORIAM» Pedro Aizpurúa Al conmemorar esta noche la figura del Para entonces, yo había compuesto al- que fue académico y amigo inolvidable go de música según la Gramática y Sinta- don Miguel Frechilla, el sentimiento que xis más o menos tradicionales, pero em- en mi interior se antepone a todos, y son pezaba a sentir una fuerte inquietud por muchos, es el de un sincero y profundo las nuevas Tendencias que ya hacía algún agradecimiento. Es el que me vincula a él tiempo afloraban en el panorama musical más espontánea y personalmente. europeo, –también extraeuropeo– y más Mi admiración fue y es siempre grande tardíamente en España. La «Improvisa- por las cualidades musicales y personales ción en forma de rondó» fue precisamen- que configuraban su personalidad, así co- te mi primer intento compositivo con mo por su brillante carrera pianística y cierto aire de modernidad. Tímido inten- pedagógica, pero el agradecimiento se to, sin duda. Aún me recuerdo a mí mis- antepone ahora mismo, y se apresura a mo delante de un mal piano, encarándo- expresarse públicamente. Y es en este me con la obra con una audacia, que aho- punto en el que prácticamente me voy a ra considero excesiva. Porque excesivo centrar esta noche, al recordarle y honrar era escribir para dos pianos, cuando para su memoria. uno solo no sé si estaba suficientemente Sin Miguel Frechilla –inseparablemen- preparado. Por otra parte, era una atracti- te vinculado a otra gran figura musical, va aventura. Buscaba sonoridades nue- Pedro Zuloaga, y valga esto para siem- vas; huía, cuanto podía entonces, de los pre– mi trayectoria musical no hubiera clichés sonoros, fruto de mi educación sido en gran parte, lo que ha sido hasta musical; rompía, desgarraba el tejido so- ahora. noro clásico que surgía espontáneamente Principalmente dos composiciones para dentro de mí. dos pianos me unieron entrañablemente a Pero repito, tímido intento de moderni- él. Una es la «Improvisación en forma de dad. Y tímidamente también entregué mi rondó» y la otra, 2 FZ. Dos composi- obra, sin saber si la considerarían digna ciones, numéricamente, no son gran cosa, de ser interpretada. Y de aquí arranca la pero las circunstancias que las rodearon la serie de agradecimientos a Miguel Fre- hicieron grande para mí. chilla que afloran constantemente en mi 9 corazón. Porque no sólo se interpretó, si- proyección internacional desde su ciudad no que, además, se grabó. Era una excesi- de Valladolid. Unánime reconocimiento, va generosidad que, sin merecerla, me en fin, que también unánimemente fue re- iniciaba prácticamente en mi trayectoria frendado por el Jurado. Fue para mí un compositiva, y me introducía en el mundo momento de especial satisfacción, recor- de la música. ¡Cómo no sentir una sincera dando lo que yo debía al dúo, a Miguel; gratitud, y expresarla públicamente en es- sintiendo mi intervención con la consi- ta noche en el que le recordamos y le hon- guiente concesión del premio, como un ramos! deber cumplido, ante todo de justicia, pe- La mejor muestra de gratitud
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