CHAMBER MUSIC SERIES

Performers:

Silvia Naranjo, soprano

Isabel Egea, mezzo-soprano

Aurelio Viribay, piano

Programme:

Enrique Granados (1867-1916) “Canciones amatorias”

• – Mañanica era (Anonymous)
• – Mira que soy niña (Anonymous)
• – No lloréis, ojuelos (Lope de Vega)
• – Lloraba la niña (Luis de Góngora)
• – Gracia mía (Anonymous)

Manuel de Falla (1876-1946) “Seven Popular Spanish Songs”

• – El paño moruno
• – Seguidilla murciana
• – Asturiana
• – Jota
• – Nana
• – Canción
• – Polo

María Rodrigo (1888-1967) “La copla intrusa (piano solo)”

Joaquín Turina (1882-1949)
“Song-Form Poem (texts by Ramón de Campoamor)”

• – Dedicatoria
• – Nunca olvida
• – Cantares
• – Los dos miedos
• – Las locas por amor

Ernesto Halffter (1905-1989) “Portuguese Songs”

• – Ai que linda moça
• – Gerinaldo

Carlos Guastavino (1912-2000) “Pueblito, mi pueblo (Francisco Silva)”

Concert note

We celebrate the 150th anniversary of Manuel de Falla’s birthday and the 80th anniversary of his passing in 2026. The commemoration of the 150th anniversary of this universal composer and key figure in 20th-century European culture has been declared an event of exceptional public interest, given its cultural relevance, international dimension, and social impact. Revolving around Manuel de Falla’s celebrated Seven Popular Spanish Songs, this programme provides an appealing selection of Spanish art songs by composers contemporary to the universal figure from Cadiz, such as Joaquín Turina, Enrique Granados , and Ernesto Halffter.

Performers:

Maite Raga and María José Muñoz, flutes

Lourdes Higes and Lourdes Vigueras, oboes

Salvador Salvador and Luis M. Torres, clarinets

Xaro Martinez and Victoria Merlo, bassoons

Iván Carrascosa and José A. Sánchez, French horns

Programme:

W.A. Mozart (arr. J. C. Stumpf for Harmoniemusik). La Clemanza di Tito, KV 621

C. Gounod. Petite Symphonie (wind nonet)

J. Raff. Sinfonietta for wind instruments, op. 188

The Sounds of Winds

The concert, performed by a wind decet of ORCAM musicians, offers a journey through three jewels of European chamber repertoire. The decet (a classic formation consisting of two flutes, two oboes, two clarinets, two bassoons, and two French horns) provides exceptional richness of sound and acoustic equilibrium that blends the transparency of chamber music with orchestral amplitude.

Mozart’s overture La clemenza di Tito, in its version for Harmoniemusik, evokes the elegance and refinement of Viennese Classicism: Gounod’s Petite Symphonie brings the melodic delicacy of French Romanticism; and Joachim Raff’s Sinfonietta ends the programme with energy and contrapuntal mastery, interweaving classical tradition with the expressiveness of the 19th century. A mosaic of styles and colours that celebrates the art of wind in all its breadth.

Performers:

Felipe M. Rodríguez, violin

Blanca Albert, violín

Iván Martín, viola

Irene Nuñez, viola

John Stokes, cello

José A. Jiménez, double bass

Programme:

L. Boccherini. Sextet No. 4 in F minor. Op. 23

W. A. Mozart. Divertimento in F major, K. 138

J. Brahms. String Sextet No. 1 in B flat major, Op. 18

String Sextets:

Listening to a sextet is like overhearing a conversation between six different people who debate, interrupt, support, and complement each other. Through Boccherini, Mozart, and Brahms, we discover how chamber music evolves and reflects different eras, highlighting characteristics such as the elegance of the 18th century, Classical youth and clarity, and the emotional richness of the Romantic period, respectively.

Performers:

Manon Chauvin, Vanessa García, and Silvia Naranjo, sopranos

Teresa López and Julieta Navarro, altos

Diego Neira and Igor Peral, tenors

Fabio Barrutia and Fernando Rubio, basses

Javier Carmena, harpsichord and direction

Programme:

J. Vásquez. Con qué la lavaré 

Atrib: J. P. Bocanegra. Hanacpachap Cussicuinin 

G. Fernándes. Xicochi Conetzintle

Mateo Flecha el Viejo. La Negrina 

G. Fernándes. Negrillo a 5

J. García de Zéspedes. Convidando está la noche

Juan de Arañés. Un sarao de la Chacona

Gurumbé, New Spain

Under the evocative title “Gurumbé” (a term alluding to a dance of African origin that became popular in Spain and the colonies), ORCAM soloists present us with a fascinating journey through the music of the Iberian Peninsula and viceregal Spain in the 16th and 17th centuries.

We will hear the most significant musical works of the period, written by authors like Juan Vásquez, Gaspar Fernández, and the great Mateo Flecha el Viejo. In so doing, we will discover the rich rhythmic and idiomatic exchanges that took place with the incorporation of new provinces.

Performers:

Alexandra Krivobodorov, violin

Susana Rivero, double bass

Víctor Díaz, clarinet

Xaro Martínez, bassoon

Javier Cantos, bugel/trumpet

Juan San Juan, trombone

Alberto Román, percussion

PROGRAMME:

1. Stravinsky. L’Histoire du soldat
2. Marsalis. A Fiddler’s Tale

Stravinsky vs Marsalis

Stravinsky’s L’Histoire du soldat is regarded as one of the most influential chamber works of the early 20th century.  So much so that it has inspired other compositions such as the one we will hear during the second half of this concert: the piece Wynton Marsalis wrote from the perspective of late 20th-century music, drawing on both jazz and other influences. Hearing these two works side by side allows us to appreciate how two musical giants approached the same story in strikingly different ways, in compositions that premiered eighty years apart (in 1918 and 1998, respectively), but that share some curious similarities: besides the instrumentation, both were written when their composers were 36 years old.