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Thursday 14 , 20:15 hours. "XXXIV Religious Music Week Avilés" . Church of Santo Tomás : Walter Heinrich ( organ). Works by Bach , Adolfo Gutiérrez Viejo (1934) and Max Reger (1873-1916). Avilés

musical tradition can boast of Music Week and also the new body Thomas, authentic gem from the workshop of Federico Acitores , paid for by various institutions and private donations, with the efforts of many Avilés and Asturian music lovers with José M ª Martínez to the head, hence when I go checking "in situ" whole process and baptism of the child , call her "the child of Chema" .
The fourth day he would test the whole machinery of the instrument would be nothing less than Walter Heinrich (1959), organist at that I heard in the past Organ Festival XXI CajAstur , who arrived three days in advance to study the instrument, test it, make appropriate entries, test, and the whole long process that needs to try an organist make the most of an instrument that is unmatched and there are no two alike. I know the invaluable help of own Kando Chema and Izumi, who also ran with the responsibility to assist in recording during the concert with a real knowledge of the facts, then you know how "Body of St. Thomas" .

In the interview published in the local newspaper (pity not to have digital edition of the Supplement to LNE week dedicated to) the organist left his intentions clear: "Not good for an interpreter to stay on a few styles" , thus resulting in the selection of the program. Of course, in concert German teacher can not miss Bach, this time the Prelude and Fugue in D M., BWV 532 ( Bach), a true "warm" instrument and interpreter, demanding no and in the art (with feet that work like fingers) but the choice of appropriate records, and we enjoyed everything, with a screening of "movements" that we lost not a single detail.

With totally different style of kantor, and work delivered to the performer a year ago the composer and organist Leon based in Gijón Old Adolfo Gutierrez (1934), the Six Differences made from a twelve-tone "Screening" explores not only Gregorian melodies (a Dies Irae was suspected in one of the differences) or Renaissance musical form itself of the variation, or touch the differences on issues here earlier, but with the writing of the twelve semitones, but especially the sounds of the "king of instruments, with meditative numbers, virtuosic (I think it was the fourth only for BB ) as well as loving, as well shows the composer to an instrument that has been all his life , yielding a unique and special tribute from the always difficult twelve-tone (then authentic art ) that the German interpreter did feel timeless, existing in the XXI century.
And to continue to exploit all the rich timbre of the organ of St. Thomas could hear the premiere in Spain of the transcription for organ by organist himself of Sinfonischer Prolog zu einer Tragödie, Op 108 for large orchestra (1908), of Max Reger (1873-1916), created in Freiburg last January and March in his tour of Russia . Herr Walter is not only teacher and performer of reconocidísimos Freiburg merit wherever it operates, but a teacher at the transcripts accomplished since the 80's, and reminded of their previous concert which made the Symphony in D m. of César Franck, organist and symphonist other as in the case of Messiaen or own Reger. Not for nothing is a musical form much in vogue since the fifteenth century, without forgetting that Liszt himself made the piano of Symphonies of Beethoven , and especially the great literature of orchestral transcriptions for organ knowing the potential and variety of sounds the same, case of the famous Dance of Death of Saint-Saëns , and as "looping the loop" run Transcendental Studies of Liszt the body (things I admired organist Raúl Prieto ).
But what we heard from Reger was not careful and meticulous transcription but authentic recreation organ, a new vision of this "complicated" Symphony Op 108 carried "tubes." Its various movements took the instrument avilesino an incredible sonic palette, delicate and powerful, contemplative and exuberant, peaceful and as if the very virulent Reger had hidden a second rereading for the vast body of orchestral used (except the harp) from the development of this symphony summit for all that contributes to the orchestral form par excellence, and turning it to do just a transcription for organ when Reger himself was so friend them, curiously including a "wink harpist" that the master himself Walter told me at the end of the concert.

The Professor Walter the score worked really long time, but not limited to reducing to writing symphonic keyboards but looking for a genuine climate timbre for each moment, with the invaluable help of Japanese organist also "adopted these days in Avilés" , with technically demanding (there really difficult passages ) without using the expression pedal, only by combining the records to achieve the true climax of a texture that "jewel Acitores" hides and still has much to discover.

At the end of the work and by Chema , speaking on behalf of all, there was the recognition and gratitude to Frederick the builder present in the room, because it really has got a unique tool that in the hands and intelligence of teachers like Walter Heinrich manage to transcend the mundane spiritual fact organ music.
not forget that also in Asturias comes with the month of May, XXII CajAstur Organ Festival, and the Walter Heinrich own have an appointment this Saturday 16 at 20:00 in Soto del Barco Body while closed this week in Aviles Music. The gift of ubiquity, and I have not the choice is already made heart with regret.

Walter Henrich. Photo: Sergio López (La Voz de Avilés )

PD 1: Review in La Voz de Avilés Friday, 15. PD
2: It is Bach in the Channel week. PD
3: Continuing updates on the YouTube Channel : Adolfo G. Old and "progress" Reger. PD
4 : More updates on the YouTube Channel : Reger full .

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Avilés enjoying Anna Tonna: double premiere Baroque

Wednesday 13 , 20:15 hours. "XXXIV Religious Music Week Avilés" . Church of St. Thomas: Anna Tonna (mezzo); Intxaurbe Itziar Aguirre (piano), with the collaboration of Niwelt Jacek (violin). Works: Debussy , Bach, Jacinto Javier (1968), Samuel Barber and Julian Orbon (1925-1991).
At last there was light and music came up with an interpretation of the third day of the week Avilesina. Dominican The soprano
, nationalized U.S. Anna Tonna, scholarship in Spain, long career where he does not forget the concert or the zarzuela , acting with the pianist, flutist and teacher local Itziar Aguirre (I stress three aspects because they have much to do) facing a high program where not miss anything with professional and high quality performances and "power." He tore the concert
-again echoing the clicks of rude staff photographer "? - With the translation of all the letters in his hand (congratulations for the initiative) with the vocal beauty of Debussy is the Lia Song (from the cantata L'enfant prodigue ), which in this version with mezzo piano recording gave more substance, and an accompaniment that was beyond co-star, with that script yet, "little Impressionist "but just as sensitive," breathing "together, coloring, playing on a French diction and English fingering.
could not miss "mein gott" Bach aria with contralateral Erbarme dich ( the Passion According to St. Matthew ) with violin Polish teacher who lives as in Avilés, Jacek Niwelt therefore not be the same without this "duet" suffering, earthy and spiritual at once. Again, while not recording "natural" of the U.S., financed from the German perfect with an intensity and interpretation intimate and almost able to touch us pray together with the musicians union.

The first release (all) of the evening was the Stabat Mater of Gipuzkoa Javier Jacinto (1968), that despite the current composition academicism breathing very interesting, not in the vocal area, where the text is the subject perfectly highlighted by the melody, but also with an accompanying "classic" tonal, with slight nods not muddy at all the feeling of the picture more moving of the Holy Week. You might even have opted for the body as a companion had not achieved the same climate, but the voice is the star, especially with the interpretation of Anna Tonna. Then another work
very demanding and I think that this little heard: Hermit Songs ( The Hermit Songs), Op 29, Samuel Barber, ten pages cycle composed between 1952-1953 (even within the period called "modern" dating from 1910 to 1949) on Irish Gaelic texts and Latin of the eighth to thirteenth centuries are a "micro-stories" , requiring highly concentrated performances by the star duo (first performed by the great Leontyne Price the author's own piano , though there are also versions or today baritone, mezzo): Voice should tell, pray , comment , laugh, whisper , want re- pray ... and piano with "text itself" where the notes have to "talk" without concessions descriptive, although there is some obviously. Again demonstrate the extent of registration to deal smoothly every one of the songs, again with more corporeal than the version "reliable" , and a plethora Itziar of suggestive sounds, pulsation contained when the music demanded it , and a set of pedals that could only cloud the reverberation of the church itself.

And the second release (in Avilés) of this event would Book of Songs (1986) made, I think in his last trip home, by Julian avilesino Orbón (1925-1991) of the mezzo spoke interview local newspaper, the composer that names the local conservatory and certainly one of the great symphonic composers of the twentieth century , sadly most recognized America than in Europe, a real musical bridge Atlantic but those who discover recorded, interpreted and even repeated .

From the work of head of the Asturian music is Lyric Song of Asturiana of Eduardo Martinez Torner , Julian Orbón gave us a new interpretation / recreation of fourteen topics where the piano takes on a color unthinkable in many other composers who drank and still drink from the same sources, and the voice really takes category of "poetry", which is related to Antón García Abril and your Mother Asturias " (1) in recording the tenor Joaquín Pixán and piano Rosa Torres-Pardo , but with the Avilés, Asturias in Cuba and then in "exile" of Miami, reaching the rank of homage and tribute to his homeland in his "last journey", I am convinced Enduring Testimony will interpret in the five continents around duo front row in his recitals. Very demanding work for voice and even more for the piano, try to find out if published it must be conveyed as authentic Asturian Musical Heritage and deserved recognition to the forgotten Master Orbón , at least in Avilés home itself has been honored prophet and in life!. Seemed both impressive performers take years together and not a few trials, very clearly worked before the concert. When there is talent is easily arise empathy, and I suppose the common tastes also help a lot.

well-deserved applause and excitement broken at the end of a concert that has put Aviles and his week on the site that we are accustomed.

(1) About the piano, the notes of my admired colleague Ramón Avello, also present at this evening, could explain this new "reinterpretation" of folklore Spaniard led the concert halls. PD
: are already rising in the week Channel on YouTube interpretations of Bach and J. releases Jacinto. plus the Book of Songs of Orbón , essential.