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Arvo Pärt REFERENCIAS La Novena De Bruckner 4 CD NOVEDADES] 1 CD ] REVISTA DE MÚSICA Año XXX - Nº 305 - Marzo 2015 - 7’50 € YAGO MAHÚGO POR AMOR AL CLAVE Año XXX - Nº 305 Marzo 2015 DOSIER CARL NIELSEN ENCUENTROS MICHEL PLASSON ACTUALIDAD ARVO PÄRT REFERENCIAS LA NOVENA DE BRUCKNER 4 CD NOVEDADES] 1 CD ] 1 CD 1 CD Nuestro personaje del mes, es el compositor 50 CD y multi-instrumentista autodidacta, '95 Georg Philipp Telemann (1681-1767). 59 € 1 CD Pocas obras llevan tanto tiempo en silencio como el Laudatorio de Cortona, una colección de canciones medievales grabadas por primera vez 2013 en un monasterio de Perugia. El manuscrito Florida con variadas composiciones y arreglos del maestro laudista holandés Joachim Van den Hove. Vocal Chamber Duets del polifacético y enigmático Agostino Steffani. El aclamado Concierto para violín de Beethoven, interpretado por Christian Tetzlaff. La obra maestra de Schubert, The Song Collection. Una excelente selección de la obra de Telemannn en 50 CD, por sólo 59,95 €, un tesoro imprescindible para los amantes de la música barroca. Novedades de calidad a precios irresistibles. 6 CD 305-Pliego 1_207-pliego 1 20/02/15 16:51 Página 1 AÑO XXX - Nº 305 - Marzo 2015 - 7,50 € 2 OPINIÓN La música danesa entre dos siglos CON NOMBRE Juan Manuel Viana 72 PROPIO Las dos óperas 6 Arvo Pärt Santiago Martín Bermúdez 76 Germán Gan Quesada Las sinfonías 8 AGENDA Enrique Igoa 80 Breve historia fonográfica 14 ACTUALIDAD Pablo L. Rodriguez 84 NACIONAL 30 ACTUALIDAD ENCUENTROS INTERNACIONAL Michel Plasson Juan Antonio Llorente 88 40 ENTREVISTA Yago Mahúgo EDUCACIÓN Pedro Sarmiento 92 Eduardo Torrico 44 Discos del mes JAZZ Pablo Sanz 93 45 SCHERZO DISCOS Sumario LA GUÍA 94 71 DOSIER CONTRAPUNTO Carl Nielsen Norman Lebrecht 96 Colaboran en este número: Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Jacobo Cortines, Patrick Dillon, Fernando Fraga, Germán Gan Quesada, Joaquín García, Manuel García Franco, José Antonio García y García, Juan García-Rico, Fernando Herrero, Bernd Hoppe, Enrique Igoa, Paul Korenhof, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Blas Matamoro, Erna Metdepenninghen, Juan Carlos Moreno, Andrés Moreno Mengíbar, Antonio Muñoz Molina, Josep Pascual, Enrique Pérez Adrián, Guillermo Pérez de Juan, Javier Pérez Senz, Paolo Petazzi, Xavier Pujol, Francisco Ramos, Elisa Rapado Jambrina, Arturo Reverter, Pablo L. Rodríguez, Justo Romero, Ignacio Sánchez Quirós, Urko Sangroniz, Pablo Sanz, Pedro Sarmiento, Aurelio M. Seco, Bruno Serrou, Luis Suñén, José Luis Téllez, Eduardo Torrico, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J. Vayón, Juan Manuel Viana, José Luis Vidal, Reinmar Wagner. Esta revista ha recibido una ayuda a la edición del Ministerio de Educación, Cultura y Deporte PRECIO SUSCRIPCIÓN: Esta revista es miembro de ARCE, Asociación de Revistas Culturales por un año (11 Números) de España, y de CEDRO, Centro Español de Derechos Reprográficos. SCHERZO es una publicación de carácter plural y, desde el año 2012, España (incluido Canarias) 75 €. cuenta con la colaboración de la Fundación BBVA, manteniendo su Europa: 110 €. Con la colaboración de: carácter de revista no adscrita a ningún organismo público ni privado. Resto de países 130 €. La dirección respeta la libertad de expresión de sus colaboradores. Los textos firmados son de exclusiva responsabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. 1 305-Pliego 1_207-pliego 1 20/02/15 16:51 Página 2 O P I N I ó N EDITORIAL LO PRIVADO l anuncio por parte de Alfonso Aijón de la grave situación de su empresa Ibermúsica lleva a la reflexión acerca de la verdadera natura- leza de la afición a la música en España y de las relaciones entre lo privado y lo público en materia de cultura. Ibermúsica ha traído a lo Elargo de su existencia —que ojalá se prolongue muchos años— a las mejores orquestas del mundo y ha contribuido a hacer de Madrid —con derivaciones en otras ciudades a las que el trabajo como agente de Aijón llevaba a esas mismas orquestas— una de las plazas musicales más interesantes de Europa. Pero, al mismo tiempo, las administraciones públicas han ido desarrollando ese trabajo a que les obliga la naturaleza del Estado y su Constitución, es decir, el procurar cultura a los ciudadanos. Y el propio Aijón ha reconocido que en una ciudad con tres temporadas amplias de abono sinfónico y con programaciones en las que aparecen nombres como los de David Afkham, Neville Marriner, Semion Bichkov o el anunciado para esta misma temporada en la que ha fallecido, Lorin Maazel, es muy difícil competir por precios. Digamos que el Estado, las autonomías, los ayuntamientos cumplen como pueden con esa política musical que ahí está, para todo el mundo. En España OPINIÓN ha habido —y es natural— quien ha podido pagarse la posibilidad de ir más allá que ese común de los mortales —incluido el valor añadido del acto social, del marco incomparable, de ser como el que más— y ahora se ve inmerso en los temores de una crisis que no acaba de resolverse. Si no exis- tiera la oferta pública o si las orquestas, como sucede en otros lugares de Europa, fueran cooperativas que dependieran de la donación privada además de la pública, ¿qué sucedería? ¿Llegaríamos a la conclusión de que la cultura sólo nos interesa a bajo precio? No son precisamente pobres quienes acuden a los conciertos por mucho que la mayoría sí sean sufridores de la crisis. Pero la pregunta que suscita el problema de Ibermúsica es cuántos de los que ahora van a los conciertos estarían dispuestos a acudir por lo que realmente debiera costar una entrada. Igual que las revistas culturales, sufriendo recor- tes en ayudas y en publicidad, acabaremos preguntando a nuestros lectores cuánto estarían dispuestos a pagar por ejemplar, para saber así si seguimos o no seguimos y, de paso, para tener un dato más —a título póstumo si el resultado no fuera suficiente— acerca de lo que interesamos a fieles y entor- no aunque lo sepamos hace tiempo: mucho a algunos y nada a otros. Es buen momento éste para recordar que ni el ciclo de Ibermúsica ni el de Grandes Intérpretes de la Fundación Scherzo reciben subvención alguna y dependen, pues, de su público y de lo que ellos mismos consigan de patrocinio o colaboración privada. Ni uno ni otro tienen la potencia de, por ejemplo, un Teatro Real a la hora de ser a la vez institucional y no, y ya sabemos que la ópera es la ópera y que también se come como marco incomparable a otra clase de acontecimientos musicales. Quiere decirse que no basta con ser un genio del marketing para resolver los problemas de una empresa dedicada a la música y que sin la ayuda de sus lectores, pagando el precio real por un producto cuyo precio no es el mismo con ayudas de la Administración que sin ellas —igual que no es el mismo en papel que en digital— no podrá sobrevivir. Y si esa ayuda hipotética no llegara tendría- mos que convenir que el mercado, ese dios que todo lo sabe y todo lo que crea lo devora, ya no nos quiere. O no nos quiso nunca. O sólo nos quiso baratos. Con la coartada de que todo está en la red, la opinión crítica, el consejo escrito, la investigación puntual, la posibilidad de reflexión centrada en el soporte más amigable que de momento conocemos, se enfrenta a un cambio que puede devorarnos a todos, incluidos aquellos a los que lo que se avecina les parece muy bien. 2 305-Pliego 1_207-pliego 1 21/02/15 13:49 Página 3 OPINIÓN La música extremada EXPECTATIVAS Diseño de portada Argonauta Foto portada: David de Olalde 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 na parte de la vida del aficio- nos. El montaje es de Michael Granda- nado tan sustancial como el ge. Peter Mattei es Don Giovanni. La REVISTA DE MÚSICA espectáculo en sí, o como el orquesta la dirige Alan Gilbert, que no Director: Luis Suñén recuerdo posterior, es la suele ser el músico más estimulante del Uexpectativa. A diferencia de la música mundo. A su cargo la Filarmónica de Redactor Jefe: Enrique Martínez Miura grabada, de la ilimitadamente disponi- Nueva York continúa una rutina digna Edición: Arantza Quintanilla ble en la red, la música real sucede en y letárgica. Maquetación: Iván Pascual un cierto lugar, un cierto día a una cier- A los pocos minutos, apenas termi- ta hora, y no a otra, y eso nos permite nada la obertura, uno comprende que Secciones alimentar lentamente el deseo de escu- la expectativa no va a cumplirse. Para Discos: Luis Suñén charla, como quien prepara una cita que eso suceda hace falta una con- amorosa con días o semanas de antela- fluencia entre la calidad de la interpre- Educación: Pedro Sarmiento y Joan-Albert Serra ción. La impaciencia, el tiempo que fal- tación y un estado de espíritu particu- Jazz: Pablo Sanz tan, acentúan las ganas. Y a veces la larmente receptivo en el espectador, expectativa es tan intensa que uno, al una resonancia inmediata, la descarga Consejo de Dirección: Manuel García Franco, llegar por fin al concierto, de camino de energía de una reacción química. Yo Santiago Martín Bermúdez, Barbara McShane, hacia él, nota como la aprensión de me doy cuenta con tristeza de que Enrique Pérez Adrián, Pablo Queipo de Llano que algo no va a salir bien, la sospecha esperar el día y la hora de este Don Ocaña, Arturo Reverter de que la realidad no estará a la altura Giovanni ha sido más incitante que de lo que se esperaba.
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