Thursday, 19 May, 20:00 . Oviedo Auditorium : Piano Days "Luis G. Iberni" . Gustav Leonhardt (harpsichord). Works of Froberger , JC Kerl, Johann Christoph Bach , Pachelbel, C. Ritter, George Boehm and JS Bach. Although Oviedo days are devoted to piano, the commitment to a concert and a half hours with plenty of harpsichord of protagonist was risky: many holes subscribers and frightened the rest, but to attend a real live lecture of the key and their work, preparing a first truly historic and complementary part of a JS Bach that filled the second, there is something within reach of the "public", so few were the "chosen" to enjoy this vs Leonhardt Bach .
Write Paul J. Vayón in Scherzo magazine this month an excellent article in the "Named own "on The teacher Gustav Leonhardt which begins: " Although the title of "teacher" is common in the world of music even to refer to young performers, meet a few more merit today that Gustav Leonhardt ('s Graveland, 1928) to display it without complexes ". also says" At this point in his career and his life, could well take refuge in the Dutch codes to get beaten easy applause, but, as has always been fairly common in him, his program is being and an incendiary statement ". Best words to begin to count the concert Oviedo impossible. The stage area was perfect for the occasion, and previously tested by Aaron Zapico that Master approved despite a hesitant first impression upon seeing the huge main room (thanks to Marina Cosme for information): the usual went to the stalls on stage but dwindling space bringing the delicate sound of key to any corner of the auditorium, and achieving a climate and environment intended only for the great performers, and Dutch Master is. The perplexity (you may also ignorance) even led to not applaud the various works, except Three leaks of Pachelbel .
If the program notes Maria Fonseca Sanhuesa were much more than a graduate class notes "Clavierbüng" which popped lives and works, the lab in charge of Master Leonhardt was unforgettable, even into the second part could not be abstracted from their teachers and wanted to explain (in English) the connection between the Chaconne in G M. Böhm of (or Boehm ) and the young Bach by harmonic and rhythmic resources precisely in a work composed The Kantor with just 18 or 19 who filled in the broad sense, this second part: Variat Aria BWV 989 (Four little preludes, plus tip). As if after an hour shelling authors and works but not always completely logical grateful the passage of sound, and a password ( tuned by himself) is not always virtuous and grateful for her "skinny" sound, parallel to this physical octogenarian with mitten / black band his left hand, need explanation, and logical prologue was really overwhelming to reflect the teaching of work and performer, with phrases to write in every performer that boasts baroque and sound from the key available only to the elect. Equally priceless the Allemande of Ritter and always "sticky" Pachelbel that the interpretation d Master was deeper than it appears in other versions . At least let the program here Oviedo after the concerts in Madrid and San Sebastian : Johann Jakob Froberger (1616-1667): Meditation my future death ( Toccata No 3, Fantasy No. 2, Toccata No. 21). Johann Kaspar Kerll (1627-1693): Toccata di durezze e ligature - Canzona No. 4 . Johann Christoph Bach (1642-1703): Prelude in C M . Johann Pachelbel (1653-1706): Three leaks. Christian Ritter (ca. 1645-1650-post 1717): Allemande the death of Charles XII of Sweden . J. Pachelbel: Fantasia in Eb M - Aria with partite Sebald. George Boehm (1661-1733): Chaconne in G M . JS Bach (1685-1750) Four small preludes ( variata Aria, BWV 989 ).
I said, a lecture of Don Gustavo, Maestro capitalized.
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