CHAMBER MUSIC SERIES

Interpreters
MAITE RAGA , FLUTE
SANDRA GARCÍA , VIOLA
LAURA HERNÁNDEZ, HARP

PROGRAM
Jean-Philippe Rameau
Harpsichord Pieces in Concert (arrangement for flute, viola, and harp)

Jean-Marie Lecrair
Sonata No. 8 in D Major

Maurice Ravel
Minuet in Trio

Jacques Ibert
Two Interludes for flute, viola, and harp.

Claude Debussy
Sonata para flauta, viola y arpa

PROGRAM NOTES
By Cristina Roldán, musicologist

Echoes of France

The timbres of the viola, flute, and harp comprise the sound palette of this concert, as if they represented the three colors of the French flag that unite their composers.

Jean-Philippe Rameau, one of the greatest musicians of the French Baroque, never thought of using this combination. In his Harpsichord Pieces in Concert, he originally used this instrument as a soloist, alongside the violin and the viola da gamba. It was Claude Debussy who first chose this exclusive sonic material, which he experimented with in his Sonata, the most cherished in his repertoire. Jacques Ibert, just a few decades younger than him, borrowed it for his Two Interludes, which reveal a completely French sensibility in balance, color, and vivid impression. And although Maurice Ravel, often compared to Debussy, only thought of the piano for his Sonatina, Carlos Salzedo soon proposed an arrangement for these instruments that immediately thrilled him.

J. Brahms
Two songs with viola:
Gestillte Sehnsucht (F. Rückert), Op. 91 nº 1
Geistliches Wiegenlied (E. Geibel / Lope de Vega), Op. 91 nº 2

E. Mateu
El amor esquivo (voice, viola)
Tres canciones amorosas (voice, viola, piano)

F. Schubert
Viola/piano serenade

Christian Jost (voice, viola, piano)
Hamlet Echoes (Shakespeare / Schlegel / Jost)

Frank Bridge
Three songs with viola

Marta Knörr, mezzo-soprano
Eva Martín, viola
Aurelio Viribay, piano

Interpreters
Marta Knörr, mezzo-soprano
Eva Martín, viola
Aurelio Viribay, piano

PROGRAM NOTES
By Cristina Roldán, musicologist

Musical Delights
The beautiful program of this concert invites us to travel from the Romantic era to the present day with the mezzo-soprano’s voice and the sound of the viola as protagonists, occasionally accompanied by the piano. They whisper to us some of the most timeless texts in universal literature.

The words of the German poet Friedrich Ruckert intertwine with those of Lope de Vega, Shakespeare, or the Austrian Franz Grillparzer, among others. Brahms’ love songs, Mateu’s works, Hamletian echoes from the German Christian Jost, Schubert’s serenade, and three romantic songs by the Englishman Frank Bridge that constitute true musical delights.

A. Arensky
Quintet Op.51

J. Brahms
Quintet Op. 34

Performers
Rocío García, violin
Robin Banerjee, violin
José Antonio Martínez, viola
Stanislas Kim, cello
Karina Azizova, piano

PROGRAM NOTES

The Exuberance of the Quintet
The coupling between Russian and German styles is extraordinarily represented in this program, with two of the best chamber pieces by Anton Arensky and Johannes Brahms.
They both use a combination of string and piano quartet that make the quintet a particularly powerful ensemble, since it brings together two forces that are self-sufficient on their own. Arensky delights us with an exuberant score for piano that the strings follow with elegance, and Brahms offers a dark, powerful work with tremendous scope, considered a great monument in chamber music that he completed when he was only thirty-one years old.

W. A. Mozart
Sonata KV304 (violin and piano)

L. v. Beethoven
Scottish Songs Op.108 (tenor, violin, violoncello, piano)

J. Turina
Classical variations Op. 72 (violin and piano)

J. Centeno/ K. Farhan
Moriré de Madrid (tenor, violin, piano)

K.Farhan- M. Comesaña
A la ciudad llegaron mares (tenor, violin, piano) Karim Farhan – Juan Durán: Quédate (tenor, violin, piano)

Performers
Víctor Arriola, violin
Juan Carlos Cornelles, piano
Karim Farham, tenor
Rafael Dominguez, cello

PROGRAMME NOTES

Musical Rarities

An exceptional combination of instruments sets this program apart. The violin and the piano share a dialogue in Sonata in E minor, K. 304 by Mozart (1778), the only one he wrote in a minor tone, giving it an unusual gravity in his repertoire.
Then, the tenor’s voice and the sound of the violoncello join, only participating in Beethoven’s Scottish Songs (1818-1822). The German man wrote nothing short of 179 arrangements of popular songs, including these striking pieces. After these two classical composers par excellence, we continue exploring the astonishing possibilities between the tenor, violin, and piano with Joaquín Turina, rounding off with three contemporary pieces expressly composed for this grouping.

F. A. Barbieri
“Cuarteto de caleseras”, El barberillo de Lavapiés

F. A. Barbieri
“Esto es el sitio frente a la vena”, El barberillo de Lavapiés

R. Chapí
“Cuando está tan hondo”, El barquillero

F. Alonso
“Ni siquiera lo puedo pensar”, Rosa la pantalonera

F. Alonso
“Canción del borrico”, La linda tapada

M. Penella
“Todas las mañanas”, Don Gil de Alcalá

P. Sorozabal
“No puede ser”, La tabernera del puerto

R. Chapí
“Yo soy la pitillera de más primores”, Música clásica

A. Vives
“La niña de ojos azules”, Bohemios

P. Sorozabal
“Despierta negro”, La tabernera del puerto

R. Chapí
“Dúo Felipe y Mari Pepa”, La revoltosa

Performers
Hevila Cardeña, soprano
Julieta Navarro, mezzosoprano
Lorenzo Moncloa, tenor
Alfonso Baruque, bass
Karina Azizova, piano

PROGRAM NOTES

Scenes from “Madriz”

Great monuments in the history of the zarzuela come together in this emblematic program that gathers a selection of classics like El barberillo de Lavapiés, Don Gil de Alcalá, La tabernera del puerto, and La revoltosa. Famous pieces by Barbieri, Chapí, Alonso, Sorozábal, and more, who revolutionised Madrid’s stages in the 19th and 20th centuries, bringing the genre to its glory days.