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Two Organists and two Spanish

Saturday 14 May, 19:30 , XXII Organ Festival "CajAstur" : Church of San Pedro , Soto del Barco. Ana Belén García Pérez ( Andoain, Guipúzcoa ). works Muffat, Cornet, Sweelinck, Buxtehude , Bach, Mendelssohn and Duruflé . Second
concert by the second organist Festival 2011 in the old instrument "inherited" from Sto. Thomas Aviles , body records peculiar to many pipe zinc which gives a powerful sound and well suited to the repertoire chosen, but give a little problem that interpreter Guipuzcoa resolved with professionalism and invaluable help José M ª Martinez, Chema , knowing as few of "his old instrument" acting as a real wizard. Framed
in local festivals of San Isidro and on the campaign trail with a variety of pagers, the truth is not bothered and could very well follow the development of the concert, helped also by the projection screen that shocked more than one who looked for the first time how to play the instrument king although some could go to the Heinrich Walther on April 16 last, as I reported in Saturday's output, but without seeing it, which is double show.

For these two concerts of Oviedo and Soto del Barco , the approach adopted by the Basque keyboardist varied only a few works, again looking to get the most risen to match and restored by Federico Acitores Workshop, a body that since its revival has already said "sounds like heaven" .
Of the works performed in Oviedo add how they change the sounds from one instrument to another, plus two equals failure (the differences here were even mechanical) which is not dismissed as some, perhaps a mismatch in the volumes of pedals in the early works until the interpreter guipiuzcoana was "made" with them as the concert progressed.
In Soto began with the Toccata prima of Georg Muffat (1653-1704), with a sound power
somewhat exaggerated but typical of the work, and continued with the Fantasy 8 toni Belgian Peeter Cornet (1575-1633) where flautado were better pasted between the keyboards and pedals. Where the instrument
overflow with volumes seemed at times somewhat opaque left hand was on the left You Fantasy Chromatica Dutch Sweelinck Jan Pieterson (1562-1621), as tutti clog fugal part and a left hand very demanding in the body is more dilute that interpreted the key . Nevertheless, a full-fledged interpretation of the difficult colors that already indicated in the title and fully borne by the organist Andoain. Again
German composers would be the show's stars, with Ciacona in E minor, BuxWV 160 of Dietrich Buxtehude (1637-1707) who Ana Belén García fully squeezed again from an interpretative incredible quality and maturity, with an array of records even greater than in San Tirso, despite the different color the flutes and full of both instruments, but always at the service of great Dietrich.No I shall never Bach or this work premiered in Dresden I remembered: the Pasacaglia and fugue in C minor, BWV 582 , sound and other technical consideration for instrument and performer ostinato from the onset pedals that sounded fully "German" and impressed the public domain by checking the feet, coordinated with hands on keyboards, to the development of the 20 variations of the first subject, leading to the double fugue , waste timbre and virtuosic in an organ that responded to this "jewel" of The Kantor.

To close the challenging, risky and difficult concert, two Baroque works not as though no major organ literature:
The Sonata in M. of the six Organ Sonatas Op 65 (1845) German Mendelssohn (1809-1847) , first champion of Bach and almost apostle of his "civilian" in Leipzig , admiration that is evident in this work fully romantic to hear the third Inspired by the Lutheran choral BWV 38 the two movements ( With moto maestoso and tranquil Andante ) applauded separately and clearly distinguished at all levels, resulting in the flautado exquisite second, and happily being run. Add that should not affect the name "Sonata" because it could have been titled Suite, and the sixth "Sonata in D m." Use the BWV 416 that will be "Coral and variations: Andante sostenuto, Allegro molto, Fugue and Finale: Andante" , so it is not a classical form as suggested by the title.

The twentieth century organ is represented by the French virtuoso Maurice Duruflé (1902-1986) and Fugue Op 12 ., Also known as the "Fugue sur le Carillon de Soissons" , again demanding work previously performed by all, without compromise and with a professionalism worthy of praise. The rich timbre was achieved despite the limitations of the instrument de Soto, but perfectly suited to the work and the kaleidoscope perfect sound for a concert closing hard and worked perfectly. My sincere enhorbuena to Ana Belén García Pérez because his career is well founded and runs its course, waiting to hear back in contemporary repertoire which I know is a specialist. The "base baroque" powerfully demonstrated the romantic and the more contemporary end of the program pointed leaves me wanting to follow more closely .
Of course thanks to Festival and the task of recovering bodies that will continue regardless of what happens to bank mergers or political becomings, concerts being part of our culture and the best way to keep alive the bodies of our churches . At least one body again as the Santo Tomás de Avilés allowed to move and restore the old to the municipality that is incorporated into the circuit organistic Asturias.