CHAMBER MUSIC SERIES

Performers 

Soprano: Mercedes Lario 

Alto: Sonia Gancedo 

Tenor: Gabriel Arce 

Baritone: Fabio Barrutia 

Piano: Karina Azizova 

Piano: José Segovia 

Programme 

BRAHMS. O Schöne Nacht, Op. 92 

BRAHMS. Drei Quartette, Op. 64 

BRAHMS. Ballade, Op. 118 

BRAHMS. Liebeslieder Walze, Op. 52 

Delicatessen by Brahms  

Johannes Brahms is well-known for his vast catalogue of vocal music, ranging from lieder (songs) to large-scale choral pieces. Completed in 1884, his Opus 92 is an astonishing collection of songs inspired by poems from Goethe, Daumer, Allmers, and Hebbel. We will be hearing O schöne Nacht in this series. It describes a peaceful, starry night, while a young man goes to meet his lover, repeating: “Oh, what a beautiful evening!” Following is Drei Quartette Op 64, from 1874, which consists of three songs whose topics revolve around nostalgia for the homeland, nature, and love. Other exquisite creations by Brahms complete the concert. Exceptional pieces to conclude this selection. 

Performers 

Sopranos: María Jesús Prieto and Victoria Marchante.  

Mezzo-soprano: Isabel Egea and Julieta Navarro  

Tenors: Igor Peral and Diego Neira  

Basses: Fabio Barrutia and David Rubiera  

Piano: Javier Carmena, piano  

PROGRAMME 

CHUECA. Pasacalle (Cádiz) 

CHUECA. Dúo, sevillanas y caleseras (Cádiz) 

GUERRERO. Pasacalle de la escalera (La rosa del azafrán) 

GUERRERO. Tango milonga (La montería) 

MORENO TORROBA. Chotis del café (María Manuela). 

ALONSO. Pasodoble de las horchateras (La de los ojos en blanco) 

MORENO TORROBA. Mazurca (La Chulapona) 

MORENO TORROBA. Pasodoble de la maestra (La Chulapona) 

ALONSO. ¡Arrímate! (24 horas mintiendo) 

GUERRERO. Fox trot (Los gavilanes) 

GUERRERO. Rondalla de estudiantes (El canastillo de fresas) 

ALONSO. La Colasa -tabaco y cerillas- (Las de Villadiego) 

ALONSO. Marchiña (24 horas mintiendo). 

ALONSO. Chotis (Rosa “la pantalonera”) 

ALONSO. Serenata (La linda tapada) 

ALONSO. Caleseras (La Calesera) 

Concierto “¡Viva la Zarzuela!” de la Fundación Canal

Long Live Zarzuela!  

Once again this year, the Chamber Music Series’ traditional Zarzuela concert offers an exceptional opportunity to savour the most well-known serenatas, pasacalles, rondas, and chotis in our theatre genre par excellence. This year, we are doing so with composers like Jacinto Guerrero, Francisco Alonso, and Federico Moreno Torroba, with the most Castilian titles in their repertoire.  

Performers

Double basses: Luis Otero, Susana Rivero, José Antonio Jiménez, Zlatka Pencheva.

PROGRAM

1. WAGNER (ARR. BY JACOBOWSKY). Fragments of Parsifal
2. MUSSORGSKY (ARR. BY SIMÓN GARCÍA). Pictures from an exhibition
3. SCHUBERT. Erlkönig, Lied
4. ELGAR (ARR. BY N. LUDWIN). Elegy for string orchestra
5. BRUMBY. Suite for four Double Basses
6. BORODIN (ARR. BY D.JOHNSTONE). Polovsian Dances from the opera Prince Igor
7. GARCIA. AC-133

Make way for the double bass

We may consider the double bass as a mere accompanying instrument, relegated to a secondary role in the orchestra. Nothing could be further from the truth! This concert challenges us to rethink this idea and to discover all its possibilities as an extraordinary solo instrument, capable of creating exceptional melodies. With this finding, arrangements based on well-known works by composers such as Wagner, Mussorgsky, Schubert, Elgar or Borodin, among others, will be performed. A unique opportunity to discover this wonderful instrument.

Interpreters
Iliana Machado, soprano
Julieta Navarro, mezzo-soprano
Daniel González, tenor
Fernando Rubio , bass
Lourdes Hige, oboe
Felipe Rodríguez y Gladys Silot, violin
Sandra García, viola
Carlos Sánchez, cello
Susana García, doouble bass

PROGRAM

J. S. BACH. Motet BWV 118 O

J. S. BACH. Mass Brevis in G minor BWV 236

Easter with Bach
“When I hear Bach’s music, I have the feeling that the eternal harmony speaks to itself, as it must have happened to God shortly before the creation of the world”, this is how Goethe would describe his perception of Bachian music and, in line with him, the program of this concert seeks to enrich and elevate the spiritual experience of Holy Week through the performance of two masterpieces by Johann Sebastian Bach.
with him, the program of this concert seeks to enrich and elevate the spiritual experience of Holy Week through the performance of two masterpieces by Johann Sebastian Bach.

Although the sublime choral piece that opens the concert,
O Jesu Christ, meins Lebens Licht, BWV 118, has often been considered a cantata, it is technically a motet. It was composed in 1736/37, but the occasion for which it was written is unknown. The source of the text is a 1610 hymn by Martin Behm,
Some say it was probably written for a funeral procession, some say it was played at Bach’s own funeral!

The next work on the program is the Missa Brevis in G minor
BWV 236, one of the five masses Bach wrote between 1737 and 1748. To compose it, he recycled some parts of his cantatas, thus offering us a small showcase of his extraordinary compositions.

Performers
Lourdes Higes and Lourdes Vigueras, oboes
Salvador Salvador and Víctor Díaz, clarinet
Sara Galán and Xaro Martínez, bassoon
Antonio Serrano and Francisco Rodríguez, basset horns
Christian Morabito, José Antonio Sánchez, Joaquín Talens, and Ángel Lechago, French horn
Francisco Ballester, double bass 

PROGRAMME 

W.A. MOZART
Serenade n. 10 in B flat major, K. 361/370a 

Mozart’s “Gran Partita”
Serenade No. 10 in B flat major, K. 361/370a, more popularly known by the name “Gran partita,” partially due to its duration, around 50 minutes, was a turning point in chamber pieces for wind instruments. It was written for thirteen instruments: two oboes, two clarinets, two basset horns, two bassoons, four French horns and, as the sole string representative, a double bass. Including the basset horns, an instrument with a unique timbre developed just a few years earlier, is normally attributed to Mozart’s relationship with Freemasonry. This might suggest that this is a mature piece, written for his own delight. Despite its popularity, since thirteen performers are necessary, it is not regularly played in concert series. This is a score where active listening between the musicians is essential. Do not miss this opportunity to discover this exceptional score!