Fecha: 6 de febrero de 2009.
Location: Lion City Auditorium .
Context: Second concert Cycle Historical Music and Performing Arts.
Program: Music Encounters Fire and Ayre. La Ruta del Nuevo Mundo (1550-1750): Mestizaje and Musical Dialogue in Ancient Iberia and the New World (works Pedro Guerrero, Mateo Flecha, Santiago de Murzi Bartomeu Cáceres, Luys Milan, Juan Pérez Bocanegra, Gaspar Sanz, Frei Felipe Madre de Deus, Juan Cabanilles, Francisco Correa de Raux, Juan Blas de Castro, Juan Arana, Gaspar Fernandes, Antonio Valente, Juan García de Zéspedes and various anonymous).
Cast: La Capella Reial de Catalunya & Hesperion XXI, with the participation of Tembembe Continuo Ensemble - Jordi Savall, direction.
We visited in the second concert of the series, dedicated to promoting the creation of CAEMHis, a sacred cow in this early music, both nationally and globally, the master Jordi Savall.
Of course, when it comes to names so archiconocidos-up to the most illiterate of the spectators, the auditorium was packed with faces of happy expectation, in most, and fearful curiosity in those who know the make Igualada teacher and we feared what we came up. And I regret to say here that my expectations were met, as I witnessed the spectacle that was pretty mediocre, which was given greater importance anything that might give the show and was left to his own music.
dive into detail, then.
Firstly it is necessary to note how little decorum and delicacy by the maestro Savall, taking into account that 85% of the parts of the program had been performed in a concert scheduled a year earlier than the present one-thing little strange, moreover, considering that Mr. Savall leads repeating the same work for much of his career.
It had thus a chance to see more of the same, but up to that danger that the interpretation did not exceed the previously heard as it were. When it seemed that things could not get worse, we find the Savall had invited a group of Mexican musicians, to intermingle cultures, its already very famous Alliance of Civilizations "by music from here and there. There is no doubt the talent of each of the musicians who were present, some more than others, obviously, and a sensational sense of rhythm of these Mexicans, but you feel a bit cheated, at the same time stunned "when he sees someone has been advocating for many years the 'correct' interpretation of music by mixing gives bygone works Murzi Valente Sanz or anonymous works jarochos and South American folk heritage, in addition to using tools such as a modern violin, huapanguera, mosquitoes, footwork, and guitars are many others in the interpretation of parts of the XVI and XVII, Mezco Baroque guitars, vihuela, triple harp, viola da gamba, and horns. Nonsense, go ...
And a good performance, but more-which is to say very little, if we talk about whom we speak, "with a vocal section good, but without fanfare, especially in the male voice and instrumental apparatus that was what best of the evening-I mean XXI Hespèrion not Mexicans, "because as always, Savall is known to surround really good people.
thunderstruck as the audience and the amphitheater surrendered into applause at every intervention that took place on stage.
But it could still be overcome is that more and started dancing, and although there was always a dancer dancing in certain works, his minimalist work, well done and tasteful, "said estroprear were pleased to work with the intervention of some the musicians of the ensemble, clearly now exchangeable for, what I know ... Nothing? -Indescribable when The Iguana -.
one has time to reflect on what you are witnessing. My feeling?, Care more show, riding the show, the music-dressing lest the audience get bored, "in short, no place in concerts of this type for pure music, one that does not require additives to reach viewer. Is it worth such a "mutilation" in order to fill a concert hall? According to the sentiments of the public, yes, yes it deserves. According to a server, never have to prefer nothing to the music, to create "sacred" of our geniuses of the past, but these works are not a superlative depth.
I have raised further questions about the performers who have spent several years working at his side, do you really enjoy again and again making the same parts? "Savall has moved into its work and is now the leading known musicians to work with him? As is the case, it is clear that these performers have to make a living, but is curious as it seems to stop in to fill the pocket Savall and then go to other groups to meet their musical and artistic longings.
Anyway, you're already accustomed to these Savalli . It is true that he is criticizing the first hard-yo, "but the reasons are obvious and not worth the criticism for criticism. I criticize the monetarist Savall, in that it takes years-both exploiting concert and on disc, the same works, in that you do not have any qualms in "beg" any kind of subsidies, that does not always meet with what he says, justifying the unjustifiable, who tries to sneak their instruments in any work , even without reason, ie that Savall has been losing that enthusiasm for the pure, true and has been left to carry the easy way, when you always had to fight to be where it is. However, defending the Savall which opened doors to blow tenacity, who was raised and managed a goal, that I struggle to regain an instrument of paramount importance in world history, a Savall did not hesitate to rediscover codes lost, that it tolled the viola as anyone, while studying, of course, "that I wanted to open roads closed, in short, that Savall thrilling for their expertise, their consistency and self-imposed.
Unfortunately we are losing, but hopefully there is something in that way that makes you rethink the route.
Today I add pieces of music, but let here a link to a video of the Instituto Cervantes in which Savall played some of the pieces appeared in the program discussed above -as not-and also includes an interview prior to a concert in Early Music Festival Utrecht 2004.
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