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REVISTA DE MÚSICA Año XXVII - Nº 269 - Diciembre 2011 - 7 € Año XXVII - Nº 269 Diciembre 2011 DOSIER Gustav Mahler II ENTREVISTA Camilla Tilling Menahem Pressler ACTUALIDAD Murray Perahia Hartmut Haenchen REFerencias Cuarteto Op. 18, nº 1 de Beethoven EL MEJOR RESUMEN MUSICAL DEL 2011 The Decca Sound CHOPIN: Chopin: Conc. nº 1 y 2 Liszt: Conciertos Tchaikovsky y Schoenberg 50CDs Ed. Ltda Recital en Varsovia daniel Barenboim daniel Barenboim daniel Barenboim Daniel Barenboim Staatskapelle Berlin Staatskapelle Berlin West-Eastern Divan 1 CD Nelsons Boulez Orchestra 1 CD 1CD 1 CD RECITAL Chapí: la bruja liszt: LA COLECCIÓN Lichtes Spiel ASM35: HIGHLIGHTS ainhoa arteta Fabiola / Bros / Roa 34 CDs Ed.ltda ANNE-SOPHIE MUTTER ANNE-SOPHIE MUTTER malcolm martineau 1 CD 1 CD 2 CDS Ed. Ltda. CD+DVD LIVE AT THE MET GRABACIONES COMPLETAS EL ARTE DE LA melancolía Beethoven: ANNA NETREBKO DE ESTUDIO PARA DECCA PRIMA DONNA patricia petibon Sinfonías completas 1 cd JOAN SUTHERLAND JOAN SUTHERLAND one / josep pons RICCARDO Chailly 23 CDs Ed. Ltda. 3 CDs Ed. Ltda. DE LUJO 1 cd Gewandhausorchester 5 CDs Ed. Ltda. BÚSCANOS EN FACEBOOK schoenberg: gurrelieder Donizetti: Anna Bolena jonc / jonde Netrebko / Garanca josep pons 2 DVDs y Blu-ray 2 DVDs 269-Pliego 1 22/11/11 11:46 Página 1 AÑO XXVII - Nº 269 - Diciembre 2011 - 7 € 2 OPINIÓN Los años de Viena Christian Springer 92 CON NOMBRE La magia del hueso cantor PROPIO Reyes Mate 98 6 Murray Perahia La voz de la tierra Asier Vallejo Ugarte José Jiménez 102 8 Hartmut Haenchen Mahler en España y lo Paul Korenhof español en Mahler Andrés Ruiz Tarazona 106 10 AGENDA ENCUENTROS 16 ACTUALIDAD Menahem Pressler NACIONAL Luis Suñén 112 40 ACTUALIDAD LIBROS 115 INTERNACIONAL ANIVERSARIO 48 ENTREVISTA Coro Nacional de España Camilla Tilling Juan Antonio Llorente 116 Rafael Banús Irusta EDUCACIÓN 120 52 Discos del mes JAZZ 53 SCHERZO DISCOS Sumario Pablo Sanz 122 LA GUÍA 124 DOSIER 91 Gustav Mahler, CONTRAPUNTO Norman Lebrecht 128 1911-2011 Colaboran en este número: Daniel Álvarez Vázquez, Julio Andrade Malde, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Jacobo Cortines, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Germán Gan Quesada, José Antonio García y García, Juan García-Rico, Alberto González Lapuente, José Guerrero Martín, Fernando Herrero, Bernd Hoppe, José Jiménez, Paul Korenhof, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Aurelio Martínez Seco, Blas Matamoro, Reyes Mate, Barbara McShane, Erna Metdepenninghen, Juan Carlos Moreno, Antonio Muñoz Molina, Rafael Ortega Basagoiti, Javier Palacio, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Paolo Petazzi, Víctor Pliego de Andrés, Xavier Pujol, Francisco Ramos, Elisa Rapado Jambrina, Arturo Reverter, David Rodríguez Cerdán, Barbara Röder, Andrés Ruiz Tarazona, María Santacecilia, Pablo Sanz, Bruno Serrou, Carlos Singer, Christian Springer, Luis Suñén, José Luis Téllez, Eduardo Torrico, Jesús Trujillo Sevilla, Asier Vallejo Ugarte, José Luis Vidal, Reinmar Wagner, Claire Vaquero Williams, Pablo J. Vayón, Albert Vilardell. Traducciones: Rafael Banús Irusta y Blas Matamoro (alemán) - Enrique Martínez Miura (italiano) - Barbara McShane (inglés) Amparo Molero (portugués) - 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) 70 €. Europa: 105 €. Esta revista ha recibido una ayuda de la Dirección General del Libro, Archivos y Bibliotecas de EE.UU y Canadá 120 €. Ministerio de Cultura para su difusión en bibliotecas, centros culturales y universidades de Méjico, América Central y del Sur 125 €. España, para la totalidad de los números del año. 1 269-Pliego 1 22/11/11 11:47 Página 2 OPINIÓN EDITORIAL QUE SEA PARA BIEN l fin se ha resuelto el enigma de quién le compraría EMI a Citigroup — ya fue curiosa la anterior, pues ¿para qué quería un banco una casa de discos si no fuera para venderla enseguida?— y finalmente va a ser el Agrupo francés de comunicación y ocio Vivendi más su subsidiaria Uni- versal Music Group quien se lleve a la veterana compañía a cambio de mil cuatrocientos millones de euros. Suponiendo que la adquisición pase el filtro de los reguladores de la competencia, lo que nos interesa como seguidores de la música clásica es cómo va a afectar al catálogo de EMI esta compra. Los medios británicos se lamentaban, hablando más en general, de una suerte de pérdida nacional, de la desaparición de un emblema de la industria y la cultu- ra patrias. La verdad es que todas estas compras y ventas —añadamos a la presente las peripecias de Sony, Warner, Telarc y tantas otras grandes, media- nas y pequeñas— representan un verdadero culebrón financiero que a la hora de la gestión de tanta inversión –siete veces el Ebitda (beneficio antes de inte- reses, impuestos, depreciaciones y amortizaciones de EMI Music— hace pen- sar inevitablemente en sus consecuencias artísticas. Vivendi informaba que “financiará la operación con su actuales líneas de crédito y tiene previsto ven- der activos no estratégicos de Universal Music valorados en 500 millones de euros”. Y, mientras no se demuestre lo contrario, el clásico es estratégico para OPINIÓN Universal. La historia de EMI es la del sonido grabado, y en lo que toca a la música clásica —una parte importante de la compañía—, se trata del sello más signifi- cativo junto a Decca, RCA y Deutsche Grammophon. A ella pertenecieron el perrito Napier y Walter Legge, el primer Karajan y Maria Callas, y su historia merece sobrevivir en las mejores condiciones. Pero la nueva posesión de Vivendi aporta otras marcas que han ido haciéndose un nombre importante, incluso venciendo crisis de cierta dureza, como sucede con Virgin, un sello que ha sabido crear un excelente catálogo, que ha sido protagonista de algún fichaje sonado y que ya es miembro de pleno derecho del club de los que cuentan de verdad en el negocio. No olvidemos en el jazz a Blue Note, con Verve —propiedad de Universal— el gran clásico del género. Todo unido for- ma parte de un conglomerado de potencia descomunal a cuyo tamaño une ahora la necesidad de una gestión equilibrada, problemática también, como sucede siempre que en los grandes grupos la competencia está más dentro que fuera. Queden para el futuro las palabras del hasta la venta presidente del consejo de EMI Group y vicepresidente de Citigroup, Stephen Volk: “esta ope- ración cumple los objetivos de la entidad de maximizar el valor de EMI con un socio como Universal Music que aprecia su valioso legado cultural, su increíble conjunto de talento musical y a los trabajadores que han trabajado duro para dar el éxito a los artistas que representan”. Esperemos que las cir- cunstancias o la gestión de las mismas no hagan recordarlas para mal. Y un párrafo sobre el proceso de selección de nuevo gerente de la Orquesta Sinfónica de Galicia y el episodio protagonizado por uno de los miembros del jurado calificador que hizo públicas las discusiones internas del mismo. Si ya los requisitos para el puesto movían a la sonrisa —posiblemente ninguno de los juzgadores pudiera acceder a él como tampoco algunos de los mejores gerentes de orquestas o programadores del mundo—, el calentón de uno de los evaluadores llevó a que, mientras se acusaba de pucherazo a otro, se desvelaran a la prensa los nombres de los aspirantes. No cuesta nada pen- sar en cómo se quedarían estos al verse en los papeles. Cuando menos, per- plejos. Y a partir de ahí lo que ustedes quieran, pues de la calumnia al chas- carrillo todo cabía en el episodio. Es lo que pasa cuando las presuntas buenas prácticas se usan con su puntito de demagogia y luego su aplicación interfiere estrategias. Al cierre de este número de SCHERZO no se conoce el nombre del próximo gerente de la que es una de las grandes orquestas españolas, de la que con la Sinfónica de Tenerife comenzó a cambiar el panorama sinfónico patrio y cuyo prestigio —ese que se refleja tanto en los resultados como en el modo de llegar a ellos— debe sobrevivir a cualquier cambio. Y para que así sea la mejor solución es hacer las cosas lo mejor posible. Suerte a todos. 2 269-Pliego 1 25/11/11 15:20 Página 3 OPINIÓN La música extremada FUERA DE LUGAR Diseño de portada Argonauta Foto portada: Rafa Martín 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 LE POISSON ROUGE REVISTA DE MÚSICA Director: Luis Suñén Redactor Jefe: Enrique Martínez Miura Edición: Arantza Quintanilla l club Le Poisson Rouge, en el cen- la misma actitud y en una penumbra Maquetación: Iván Pascual tro mismo del Village, en la calle parecida a la del Village Vanguard Bleecker, no es un lugar en el resalta más el vitalismo inmediato de Secciones que parezca posible escuchar esta música, el hecho de que está suce- Discos: Luis Suñén Emúsica clásica. A la entrada, después diendo tan en el presente como el jue- de comprobar la reserva, le ponen a Educación: Pedro Sarmiento y go de rigor y de improvisación en el Joan-Albert Serra uno un sello en el dorso de la mano y que se implican por igual cada uno de Jazz: Pablo Sanz una pulsera en la muñeca.
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    8.111364 bk Menotti3_EU:8.111364 bk Menotti3_EU 17-12-2010 18:25 Pagina 8 her release, and insisting she has done nothing wrong. exclaiming that he can run and jump. The Mother and The Page releases the Mother at a sign from Kaspar. the Three Kings follow him breathlessly. As he # Melchior tells the Mother that she may keep the stumbles his Mother tells him to be careful. The Kings Gian Carlo gold: He for whom it is intended will have no use for realise that Amahl has been blessed and ask if they it. He will build His kingdom on love. The Mother may touch him. They then ask if Amahl may travel throws herself at the feet of the Three Kings, telling with them. Amahl says that he would like to MENOTTI them to take back their gold – if she were not so poor accompany them. The Mother and Amahl say good- she too would send a gift to such a Child. Amahl bye to each other, the Mother all the time instructing Amahl and the Night Visitors offers his crutch as a gift. The Mother moves to stop him on what to do. As the shepherds sing, the Three him as he raises his crutch. As Amahl advances Kings, led by the Page, start their procession out of the Sebastian – Ballet Suite towards the Kings, he realizes that he has moved cottage. After a final farewell to his Mother, Amahl without the help of his crutch. Dazed he understands takes his place at the end of the procession, playing his ARLO ME that he can walk.
  • Mullova Ensemble Acht Freunde Treffen Schubert -53)+ ',¯.:%.$ %).'%&!.'%

    Mullova Ensemble Acht Freunde Treffen Schubert -53)+ ',¯.:%.$ %).'%&!.'%

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