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Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
International Piano NO.44 JUL/AUG 2017 £5.50
International Piano International NO.44 JUL/AUG 2017 £5.50 www.international-piano.com PEAK PERFORMANCE INSIDE Beethoven’s mighty SHEET MUSIC Hammerklavier CHRISTOPHER NORTON’S PACIFIC PRELUDES on disc JULY/AUGUST 2017 FROM BOOSEY & HAWKES SEE PAGE 43 SCORING POINTS Editing Hummel’s COMPOSING Concerto No 2 AT THE KEYS Do we judge the works of pianist-composers PLUS NEW TECHNOLOGY too harshly? FOR TUNING MAKE SCALE PRACTICE FUN MARC-ANDRÉ www.international-piano.com HAMELIN Irrepressible explorer 07> 077005 772042 9 IPJA17_001_Cover 0706OM.indd 2 07/06/2017 14:54 Shigeru Kawai Concert Series Beautiful Grand Pianos In 6 Sizes, Crafted By Master Piano Artisans In Hamamatsu, Japan. /KawaiUK www.shigerukawai.de IPJA17.indd 2 06/06/2017 15:29:39 CONTENTS © SIM CANETTY-CLARKE © SIM CANETTY-CLARKE 16 34 © ABU DHABI FESTIVAL © PRINTEMPS DES ARTS DE MONTE- © PRINTEMPS DES ARTS 52 57 Contents 5 EDITORIAL willing to explore International Music SPECIAL FEATURES Finding solace in music unusual repertoire? Competition 16 SHARED EXPERIENCE 6 LETTERS 34 RED OCTOBER 52 LIVE REVIEWS Canadian virtuoso Your thoughts and London Piano Festival Concert coverage from Marc-André Hamelin comments marks the centenary of London, Bergamo and shares his passion for rare Russia’s 1917 revolutions Monaco’s Printemps des repertoire and explains 8 NEWS & EVENTS Arts festival why it’s important to Steinway & Sons opens 36 IN TUNE WITH understand the mechanics Paris showroom | The THE TIMES 57 CULTURAL PEARL of music Leeds announces annual New technology that’s Abu Dhabi’s -
Mullova Ensemble Acht Freunde Treffen Schubert -53)+ ',¯.:%.$ %).'%&!.'%
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2012–Ųjų Metų Gaidos Festivalis Taip Pat Pažymi Šią Reikšmingą Sukaktį Dedikuodamas Johnui Cage’Ui Dalį Savosios Programos
► Viena pagrindinių festivalio temų – erdvė (erdvė muzikoje, muzika erdvėje, spektriniai ir kiti erdvės aspektai) ► Festivalio kviestinis kompozitorius – Georgas Friedrichas Haasas, vienas įdomiausių ir labiausiai pripažintų šiandienos austrų kompozitorių ► Festivalis pristato specialius projektus Johno Cage’o – vieno įtakingiausių XX a. kūrėjų ir mąstytojų – 100 metų sukakčiai ► Atskiras dėmesys kitai amerikiečių įžymybei – Steve’ui Reich’ui ► Festivalio puošmena – kultiniai JAV ir Europos atlikėjai bei pasaulinio garso solistai ► Festivalyje dalyvaus geriausios Lietuvos atlikėjų pajėgos, skambės užsakyti kūriniai lietuvių kompozitoriams Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme .......................................................................................................2 100–asis Johno Cage’o gimtadienis / John Cage’s Centennial Anniversary .....6 Georgas Friedrichas Haasas / Georg Friedrich Hass .................................................10 Bang On A Can All-Stars (JAV / USA) ...............................................................................14 Plural Ensemble (Ispanija / Spain) ....................................................................................24 Lietuvos nacionalinis simfoninis -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
Nikolai Demidenko Live at Wigmore Hall
HE PERFORMANCES on this two-CD set were recorded during Piano Masterworks, a series of six concerts given by Nikolai Demidenko in Wigmore Hall, London, between TJanuary and June 1993. Devised by AteÛ Orga, under the patronage of The Lord Birkett, sponsored by Lloyds Private Banking, these recitals ranged across 250 years of keyboard music, instrumental technique and the development of modern piano resource – from Scarlatti to Gubaidulina. As a concept the series was modelled on nineteenth-century Romantic practice. In Paris, between 1873 and 1877, Charles-Valentin Alkan gave regular ‘Petits Concerts de Musique Classique’ – six recitals each, surveying the repertoire from Couperin, Bach, Handel and Scarlatti to Weber, Chopin, Schumann and Mendelssohn. Later, the Russian Anton Rubinstein created a cycle of seven Historical Recitals with which he took his farewell of Europe in the mid-1880s. At over three hours individually, these embraced a repertoire from Byrd and John Bull to Balakirev and Tchaikovsky. Like Franz Liszt, Ferruccio Busoni, too, was historically aware, his programming ranging from Bach to Liapunov. COMPACT DISC 1 The Bohemian JAN VÁCLAV VO“ÍŠEK, an exact contemporary of Czerny, studied with his father (like Schubert’s, a schoolmaster) and then with Tomášek, who thought he had such ‘grosses Talent’ that he taught him for nothing. In 1813 he settled in Vienna, ‘the undisputed musical capital of the world’ (Spohr). Here he had lessons from Hummel and Moscheles. He became associated with Beethoven’s circle. He befriended Meyerbeer and Schubert. He conducted concerts of the Gesellschaft der Musikfreunde (including Beethoven’s Second Symphony in 1819). -
Curriculum Vitae
Curriculum Vitae BORDAS IBÁÑEZ, MARÍA CRISTINA JULIA SITUACIÓN PROFESIONAL ACTUAL ORGANISMO: Universidad Complutense de Madrid FACULTAD,ESCUELA o INSTITUTO: Facultad de Geografía e Historia DEPT./SECC./ UNIDAD ESTR.: Musicología CATEGORIA PROFESIONAL Y FECHA DE INICIO: Catedrática, 17/06/2019; DIRECCION POSTAL: Profesor Aranguren s/n / 28040 Madrid TELEFONO: 91 394 5997 ( teléfono particular: 669542310) NÚMERO DE SEXENIOS DE INVESTIGACIÓN CONCEDIDOS: 5 correlativos (el último 2008-2013) PARTICIPACION EN PROYECTOS DE INVESTIGACION FINANCIADOS Proyecto I+D HAR2018-099669-B-100 TITULO DEL PROYECTO: Iconografía musical y organología: contextos, simbología e instrumentos. ENTIDAD FINANCIADORA: Ministerio de Economía y Competitividad DURACION DESDE: 2019 HASTA: 2021 INVESTIGADORAS PRINCIPALES: Cristina Bordas Ibáñez / Ruth Piquer Sanclemente Proyecto I+D HAR2015-67325-P TITULO DEL PROYECTO: Iconografía musical y organología. Escenas musicales y danzarías en las artes visuales: contextos, simbología e instrumentos. ENTIDAD FINANCIADORA: Ministerio de Economía y Competitividad DURACION DESDE: 2016 HASTA: 2018 INVESTIGADOR PRINCIPAL: Cristina Bordas Ibáñez Proyecto I+D HAR2012-35825 TITULO DEL PROYECTO: Iconografía Musical: Catalogación y análisis de obras artísticas relacionadas con la música y las artes visuales en España ENTIDAD FINANCIADORA: Ministerio de Economía y Competitividad DURACION DESDE: 2013 HASTA: 2015 INVESTIGADOR PRINCIPAL: Cristina Bordas Ibáñez Proyecto I+D HAR2009-10029 TITULO DEL PROYECTO: Iconografía Musical: Catalogación -
Radio 3 Listings for 16 – 22 May 2020 Page 1 of 23
Radio 3 Listings for 16 – 22 May 2020 Page 1 of 23 SATURDAY 16 MAY 2020 Flute Sonata in E minor Jed Wentz (flute), Balazs Mate (cello), Marcelo Bussi SAT 01:00 Through the Night (m000j3j4) (harpsichord) Druids vs Christians 04:44 AM Mendelssohn's dramatic cantata 'Die erste Walpurgisnacht' is George Frideric Handel (1685-1759) performed by the Swedish Radio Choir and Symphony 'Va tacito e nascosto' (Giulio Cesare) Orchestra and conductor Daniel Harding. Isabelle Faust is the Graham Pushee (counter tenor), Australian Brandenburg soloist in Schoenberg's Violin Concerto. With Jonathan Swain. Orchestra, Paul Dyer (artistic director) 01:01 AM 04:51 AM Arnold Schoenberg (1874-1951) Maurice Ravel (1875-1937) Violin Concerto, Op 36 Une Barque sur l'ocean Isabelle Faust (violin), Swedish Radio Symphony Orchestra, Trondheim Symphony Orchestra, Eivind Aadland (conductor) Daniel Harding (conductor) 05:01 AM 01:37 AM Imant Raminsh (b.1943) Gyorgy Kurtag (b.1926) Put vejini for mixed chorus Doloroso (from 'Jelek, játékok és üzenetek') [Signs, Games and Kamer Youth Chorus, Maris Sirmais (director) Messages) Isabelle Faust (violin) 05:05 AM Fritz Kreisler (1875-1962) 01:40 AM Chanson Louis XIII et Pavane in the Style of Couperin Arnold Schoenberg (1874-1951) Barnabas Kelemen (violin), Zoltan Kocsis (piano) Friede auf Erden, Op 13 Swedish Radio Choir 05:11 AM Domenico Scarlatti (1685-1757) 01:51 AM 3 keyboard sonatas Felix Mendelssohn (1809-1847) Claire Huangci (piano) Die erste Walpurgisnacht, Op 60 Swedish Radio Choir, Ingrid Tobiasson (contralto), -
Modern Accordion Perspectives
An expert panel of the most well-know classical accordionists, MODERN MAP professors, skillful and progressive musicians of the youngest O C E generations and several accordion festival organizers, introduces a discussion about the current situation of the accordion on a MOD D C R professional, academic, pedagogic, artistic scene. ACCORDION E O S R R P It illustrates, on a international level, the “possible ways” for young accordionists, looking at the future of our instrument and at the main ERN N D E professional perspectives and at the strategies to emancipate young I C musicians in the real music world, and considering the importance and the role of conventional accordion organizations, contests and festivals. O T PERSPECTIVES ACC N I V E S ORD ION Iñaki Alberdi [Musikene, Higher School of Music of the Basque Country] Klaudiusz Baran [Fryderyk Chopin University, Warsaw] Xiaoqing Cao [Central Conservatory of Music, Beijing] Pascal Contet [Académie Supérieure de Musique, Strasbourg, France] PER Geir Draugsvoll [Royal Danish Academy of Music, Copenhagen] Paulo Jorge Ferreira [Applied Arts Superior School, Castelo Branco / Lisbon Conservatory] Maciej Frackiewicz [Poland] Frode Haltli [Norwegian Academy of Music, Oslo] SPE Gorka Hermosa [Santander Conservatory, Spain] Claudio Jacomucci [Pescara Conservatory / Italian Accordion Academy] edited by Marko Kassl [Detmold Academy of Music, Germany] Rasmus Kjøller [Royal Danish Academy of Music, Copenhagen] Veli Kujala [Sibelius Academy, Helsinki] CTI Vincent Lhermet [Pôle Superieur d’Enseignements -
Master Class with Nikolai Demidenko
Master Class with Nikolai Demidenko Tuesday 30 May 6pm, Salon Presented by Melbourne Recital Centre This master class is supported by Dr Cherilyn Tillman & Tam Vu and YMF Australia GUEST ARTIST Nikolai Demidenko piano Berta Brozgul piano Aleksandr Scriabin (1872-1915) Piano Sonata No.5, Op.53 James Zong piano Richard Strauss (1864 - 1949) / Percy Grainger (1882 - 1961) 'Ramble on Love 'from Der Rosenkavalier Gintaute Gataveckaite piano Robert Schumann (1810 - 1856) Piano Sonata No.2, Op.22, I Vivacissimo About Nikolai Demidenko At six years of age Nikolai went to the Gnessin School of Music where he studied with Anna Kantor. He also completed studies at the Moscow Conservatory with Dmitri Bashkirov and was a finalist at the 1976 Montreal and 1978 Tchaikovsky Competitions. He has worked with many of the major orchestras of the world including the London Philharmonic, the London Symphony, the Royal Philharmonic and the St Petersburg Philharmonic with conductors Sir Roger Norrington, Vladimir Fedoseyev, Yuri Temirkanov and Sir Andrew Davis. Nikolai Demidenko’s passionate pianism is in demand worldwide. Frequent London recitals have included a series at the Barbican, the International Piano Series at Southbank Centre and recently the London Pianoforte Series at the Wigmore Hall – a Chopin recital which was featured as the only live performance in BBC Radio 3’s Chopin Experience, a weekend celebration of his complete works. Nikolai is renowned for his authoritative performances of the Russian concerto repertoire such as Prokofiev, Rachmaninoff and Tchaikovsky. He has a flourishing relationship with the St Petersburg Philharmonic and Yuri Temirkanov, with whom he performs regularly. -
Jueves, 01 De Noviembre De 2018
Jueves, 01 de Noviembre de 2018 00:02:00 hs: AUTORES VARIOS: CUATRO COMPOSICIONES (RENACIMIENTO TARDIO Y BARROCO TEMPRANO) (VERSIONES ORGANÍSTICAS) Duración: 00:09:02 PIFFARO Director: JOAN KIMBALL Y ROBERT WIEMKEN 00:11:00 hs: GERSHWIN, GEORGE (1898-1937): CINCO CANCIONES Duración: 00:16:38 DAME KIRI TE KANAWA SOPRANO THE NEW PRINCESS THEATER ORCHESTRA Director: JOHN MCGLINN 00:29:00 hs: WILLIAMS, ALBERTO (1862-1952): TRES COMPOSICIONES Duración: 00:07:42 LIA CIMAGLIA ESPINOSA PIANO 00:38:00 hs: SIBELIUS, JEAN (1865-1957): SUITE DE LA MUSICA INCIDENTAL PARA "EL CISNE BLANCO" OPUS 54 Duración: 00:21:32 ORQUESTA FILARMONICA REAL Director: SIR THOMAS BEECHAM REGISTRO REALIZADO EN EL ROYAL ALBERT HALL EL 24 DE NOVIEMBRE DE 1955 01:02:00 hs: AUTORES VARIOS: TRES COMPOSICIONES VOCALES Duración: 00:07:42 CONJUNTO PRO MUSICA ANTIGUA DE ROSARIO Director: CRISTIAN HERNANDEZ LARGUIA 01:10:00 hs: SCRIABIN, ALEXANDER (1872-1915): TRES ESTUDIOS Duración: 00:07:32 VLADIMIR SOFRONITSKI PIANO 01:18:00 hs: GUASTAVINO, CARLOS (1914-2000): DOS COMPOSICIONES Duración: 00:07:29 CARLOS GUASTAVINO Y HAYDEE GIORDANO PIANOS 01:26:00 hs: STRAUSS, RICHARD (1864-1949): ASI HABLABA ZARATUSTRA (POEMA SINFÓNICO OPUS 30) Duración: 00:33:16 WILLI BOSKOVSKY VIOLÍN ORQUESTA FILARMONICA DE VIENA Director: HERBERT VON KARAJAN 02:02:00 hs: MENDELSSOHN-BARTHOLDY, FELIX (1809-1847): SINFONIA Nº 2 EN SI BEMOL MAYOR OPUS 52 "CANTO DE ALABANZA" (TEXTOS BIBLICOS) Duración: 01:09:43 EDITH MATHIS Y LISELOTTE REBMANN SOPRANOS WERNER HOLLWEG TENOR CORO DE LA OPERA ALEMANA DE BERLIN -
Antón García Abril Y Leonardo Balada: Este Año Ambos Cumplen Su 80 Aniversario Y, Como Felicitación Y Homenaje, Nuestro Festival Ofrecerá Una Selección De Sus Obras
DEL 29 DE SEPTIEMBRE AL 27 DE OCTUBRE DE 2013 CASA DE CULTURA DE TRES CANTOS (MADRID) ORGANIZA: Asociación Cultural DIRECCIóN ARTíSTICA MANUEL GUILLEN PATROCINAN c/ Azagador, 100 INAEM (Insti tuto Nacional de las Molino de la Hoz Artes Escénicas y de la Música), del 28232 Las Rozas (Madrid) Ministerio de Educación, Cultura y Deporte ORGANIZACIóN 2 (Patrocinador del Festi val y de dos Asociación cultural obras-encargo) ARS VOLUPTAS Casa de Cultura AYUNTAMIENTO DE TRES CANTOS Ayuntamiento de Tres Cantos Tres Cantos (Madrid) COMUNIDAD DE MADRID Junta directi va Manuel Guillén, Presidente Marta Knörr, Secretaria y tesorera Rosa María Calle, Vocal Sergio Blardony, Vocal Bernardino Cerrato, Vocal Mario Carro, Vocal Asesores artí sti cos José Luis García del Busto COLABORAN David del Puerto FUNDACIÓN AUTOR-SGAE Manuel Dimbwadyo (Colaborador del Programa Inaugural) Diseño, Portada y contraportada Pau Morales ESCUELA DE MÚSICA DE TRES Asesoramiento notas y tí tulos CANTOS José Luis García del Busto Web RNE-RADIO CLÁSICA Juan Ignacio Muñoz HOTEL QUO FIERRO (Tres Cantos) Coordinación del Festi val Marta Knörr XVII FESTIVAL DE MÚSICA Coordinación con el Ayuntamiento CONTEMPORÁNEA CÓRDOBA 2014 de Tres Cantos Rosamari Calle INSTITUTO VASCO Dirección, programación, selección artí sti ca y contratación POLIMÚSICA (MADRID) Manuel Guill én La Asociación Cultural “Ars Voluptas” tiene el placer de presentar la 13ª edición del Festival Internacional de Música Contemporánea de Tres Cantos (FestTC13). En un año de crisis económica como el presente, es necesario recurrir a fórmulas de colabo- ración con otros proyectos afines que nos permitan aprovechar las sinergias para conseguir un buen resultado final, en el que se fusionen distintos programas, manteniendo cada uno de ellos su propia singularidad y dando como resultado la optimización de los recursos disponi- bles.