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passionately in "the second" of the Week Avilesina

Tuesday, 12 April , 20:15 . "XXXIV Religious Music Week Avilés" . Church of St. Thomas: Angeles Tey (soprano) and Bernardo García Huidobro (guitar), with the collaboration of Izumi Kando (continuo. Works Bach, Enrique Villaverde , Purcell and D. Scarlatti .

Concert something "puzzling" by the formation of choice, voice and guitar (more specifically the organ), in a repertoire suitable for the environment pre-Passion though with unequal results.
day I opened my always beloved Bach with three of his "Geistliche Lieder" : the BWV 469 (Ich steh an Deiner Krippen hier), BWV 493 ( O Süss Jesulein ) that Mendelssohn would also for Oratorio "Paulus" and BWV 458 ( Vollbracht Es ist ) for soprano and guitar, a first handicap of having to do all the bass as an instrument of six strings, with little volume but fully integrated into a score that is not theirs, combined with whose low register voice barely hear (and I was sitting in the fifth pew) perhaps taking the intimate by a low-emission projection, although versions baritone or tenor (let alone for high child), are more pervasive .

The bar rose with the first hearing (mentioned at the beginning that it was opening): Aleph, est Obscuratum Quomodo ( Lamentation on Good Friday 2 nd , single, 1745) of Enrique Villaverde (1702-1774) that was choirmaster of the Cathedral of Oviedo and "discovered" by my teachers and Inmaculada Quintana Emilio Casares, version for voice, guitar and organ, Gregorian chant to the great polyphonic succumbed in his scores. Work fully adequate to the color of the soprano, was somewhat undermined by an accompaniment in the background too, losing the richness of the bass, and a mismatch between the performers, but that under what he heard then was the best concert.
The Cantata for soprano and continuo (again "watered down" by the guitar accompaniment only, despite the efforts of the Chilean ) Tell me some pitying angel ( Purcell ) taking chapter 2, verse 4 of San Lucas, I again descended into purgatory on earth, with an initial recitative totally out of tune, do not know if the voice or the guitar that was on a completely different harmony to the melody heard. The rest was running a little better, but with the same shortcomings Initial, despite a discreet accompaniment sound as the plane ("could use a little amplifación despite the natural reverberation of the temple?).
To conclude the brief concert, Domenico Scarlatti and four numbers making up their Salve Regina (in this concert versioning for soprano, guitar and organ). A step up after the "trip" above, but more killing for pleasure sinful listener ear, staying just on the landing. Conceived work for countertenor and orchestra, although there versions for soprano and organ (I I prefer the mezzo and orchestra of ) obviously tend to compare with heard, and is the reason why I was not very comfortable, although I remain grateful to bet on these repertoire. It's okay to bring in "short version" and more in times of crisis, we can not work must not lose, especially live (the disc is another thing), but not go into qualities that other paths lead me anything you want. As was my admired Diana Diaz , I hope to read his critique on LNE, and personally I'm more "anxious" to hear the third, let alone the fourth ... this week full musically.

PD 1: I've already uploaded some songs to ® Channel on YouTube of the Week . PD
2: Overview of Fernando del Busto in La Voz de Avilés the same Tuesday. PD 3: Overview of T. Cembranos in LNE on Wednesday 13 .
PD 4: Review of Diana Diaz in LNE Thursday 14.

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First Day of the Week (Avilés Religious Music)

Monday, 11 April , 20:15 . "Religious Music Week Avilés" . Church Santo Tomás, Julián Orbón Orchestra, Marta Gomez (flute), William Cañal (cello) Izumi Kando (organ), José María Martínez (director). Works by Vivaldi , Haydn, Ramón de Garay (1761-1823) and Handel .

time I come betting on "Youth, divine treasure and genuine investment for the future. In the musical field work undertaken from the Conservatoire de Avilés is to take an example, and this week take 34 years of Music I celebrated that says it all, tackling basic repertory orchestra for all students (and why not also professional) such as the Baroque and Classical, offering the solo roles to students in their final years will surely sleep dreaming of ascending and descending scales , emission or vibrato, and frulatos arch, and try to touch everything written in the difficult scores (for all) is already examining the evaluation with flying colors. Continue working, never stop studying, and the next step of quality will "start enjoying" to achieve interpret. Congratulations to all participants Chema to the head. The week has not just begun, and the usual public success year after year, filled to the aisles, even "taking place" during the 19:30 Mass. ...

transcribed leave the interpreted program, highlighting the cello concerto, a student who is on the right track, and the organ played by Izumi Kando (which is like home ) in the portable organ-logical layout and work-and that if successful with the choice of records, looked more at the "Organo ad libitum" -alone-that in the other movements, perhaps "infected" by the momentum rounded student who failed with the Orchestra Concert in M. Handel of , otherwise very well arranged on the podium.

Program:

Concert Il Cardelino , for Flute and Orchestra ... ... ... ... .... A. Vivaldi (1680-1743)

Allegro

Cantabile

Allegro

M Concerto in C, Hob. VIIb: 1 ... ... ... ... ... ... ... ... ... .... FJ Haydn (1732-1809)

for cello and orchestra

Moderato

Adagio

Final

Symphony No. 8 in C M, 1817 .. ... ... ... ... ... ... ... ... ... ... ... ... .. R. Garay (1761-1823)

Largo

Minue

Andante

Rondo

Concerto in F for organ and orchestra ... ... ... ... ... ... ... GF Handel (1685-1759)

Ouverture

In Ordinary Time

Organo ad libitum

Allegro

I did not take many pictures because the lighting with halogen front hit us even bothered, and there were plenty of photographers (some better placed than others in the hallway) and video cameras to immortalize the young musicians ( I also had to daughter of a friend in the violas). Interpreters are available on the web Festival on Facebook ® , blogs and video to YouTube ® channel , for those who can not attend all. Finally

commenting on the excellent idea of \u200b\u200bgoing recovering and interpreting works of musicians "home" , even if to Jaen march as in the case of avilesino Ramón Garay (1761-1823), a contemporary of Mozart , whose integral Ten Symphonies (on 3 CDs) has recorded the Cordoba Orchestra with José Luis Temes the baton, and published / funded by the BBVA Foundation , but not yet I bought the ... At least enjoy live. And tomorrow "God willing" ...