CHAMBER MUSIC SERIES

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.

A. Dvorak
String quintet Num. 2 Op. 81

S. Prokofiev
Quintet Op.39

Performers
Felipe Rodríguez, violin
Balint Varay, violin
Sandra García Hwung, viola
Carlos Sánchez, violoncello
Susana Rivero, double bass
Víctor Díaz, clarinet
Lourdes Higes, oboe

PROGRAM NOTES

Bold Musical Acrobatics

The quintet for piano and strings is one of the most powerful and flexible ensembles in the history of music. The different combinations afforded by the piano and all of the string instruments, and the possibility of alternating protagonism between each one of them, make them worthy of this fame. Quintet Num. 2 Op 81 by Dvorák is one of the best examples of late Romanticism using all this potential to its best advantage.

Written between August and October 1887, this was no the composer’s first time trying his hand at writing for five instruments, but it was the first time he definitively made a name for himself. On the other hand, the Quintet Op. 39 by Prokófiev comes from a commission given to the composer by a Russian dancer in 1924. He was to set music to some short choreography sets performed by artists in a travelling circus. The result is dazzling and seems to simulate an entire acrobatic display.

G. Pergolesi
Stabat Mater, for soprano/alto string and organ quintet

G. Donizetti
Parafrasi del Christus, for soprano/alto string and organ quintet

PROGRAM NOTES

A Mother’s Cry
Can music express a mother’s pain when she loses a child? The Stabat Mater (in Latin, “The Mother Was There”) is a meditation on the Virgin Mary’s suffering when Jesus was crucified. This has acted as inspiration for composers such as Palestrina, Haydn, and Rossini, although Giovanni Battista Pergolesi’s is certainly the most oft performed. Although he wrote it on his deathbed, the composer managed to create his most popular piece, bringing together the austerity and simplicity one would expect from religious music with an innovative vocal score more operatic in style. Gaetano Donizetti also wanted to put music to the moment of crucifixion, and he did so over a text by Serafino Gatti in Parafrasi del Christus. Just like Pergolesi, Donizetti pushes the limits of sacred music, creating a sort of religious opera. Curiously enough, it begins in F minor, like his piece.

Performers
Manon Chauvin, soprano Teresa López, alto Rubén Reina, violin
Felipe Manuel Rodríguez Padilla, violin Jose Antonio Martínez, viola
Nuria Majuelo, cello Susana Rivero, double bass
Vanessa Pérez, organ

H. Villa – Lobos
Poema da criança a sua mamá (flute, clarinet, cello, and vocals)

C. Guastavino
Introduction and Allegro for flute and piano

H. Villa – Lobos
Chorus num. 2 for flute and clarinet

C. Guastavino
Tonada y Cueca (clarinet and piano)

C. Guastavino
Sonetos del ruiseñor (flute, clarinet, cello, piano, and vocals)

PROGRAM NOTES

Sounds of Brazil and Argentina
Many composers attempted to blend characteristic elements of Brazil, a true kaleidoscope of cultures and styles, with European musical techniques, but few managed such a unique and personal integration as Heitor Villa-Lobos; his two pieces included in this concert prove this. While Villa-Lobos’ music brings us on a journey to Brazilian lands, the music of Carlos Guastavino, also known as the “Schubert of the Pampas,” perfectly evokes the landscapes of his native Argentina, shining with simple yet intense melodies.

Performers
María Teresa Raga, flute
Salvador Salvador, clarinet
Carlos Sánchez, violoncello
Karina Azizova, piano
Sandra Cotarelo, soprano

Vocal repertoire of Rachmaninoff on the 150th anniversary of his birth

Do not sing to me, my beauty
In the silence of the secret night
Lilacs
Don’t believe me, friend!
Elégie (piano solo)
Polichinelle (piano solo)
Morning
Child, you are beautiful like a flower
I fell in love, to my sorrow
She is as beautiful as midday
Étude-Tableaux N5 (piano solo)
Étude-Tableaux N9 (piano solo)
All things pass
Vocalize
Spring waters

Performers
Karina Azizova (piano)
Ekaterina Antipova (voice)

PROGRAM NOTES

The delicate voices of Rachmaninoff
Often, when we speak of Sergei Rachmaninoff, the last representative of Russian romanticism, we speak of his great piano pieces, with those gushing melodic lines and resounding harmonies. In this concert, we pay tribute to a lesser-known Rachmaninoff on the 150th anniversary of his birth, the Rachmaninoff who wrote nothing short of eighty beautiful songs for voice and piano between 1890 and 1916. Nature was the source of his inspiration. He confessed: “I compose slowly, surrounded by nature. My eyes drink in the sparks of light on the fresh leaves after the rain; my ears, the whispering of the forest. I observe the pale hues of the sky in the horizon after the sun sets, and in my soul, voices emerge, all at once…in a song.”

A. Lobo

T. L. de Vitoria

F. Guerrero

C. de Morales

Popular Christmas Carols

PROGRAM NOTES

The “Golden Age” of Spanish music bore witness to surprising musical development, worthy of its economic pre-eminence over the rest of the 17th-century world. Focusing on music for Christmas and the Epiphany, ORCAM is exploring this rich musical treasure. One same programme boasts an irresistible blend of sumptuous harmonies with popular dances, bringing truly infectious joy. The concert’s central piece, Misa a 6 voces Beata Dei genitrix, for Christmas Matins, by fantastic Sevillian composer Alonso Lobo, has yet to earn all the praise it is due. This composition bursts with richness and light. Between movements, there are Christmas motets by Tomás Luis de Vitoria, Francisco Guerrero, and Cristóbal de Morales, along with an exuberant Ensalada de juventud by Mateo Flecha “El Viejo” to celebrate the birth of Jesus, in addition to traditional Christmas Carols set to popular tunes.

Performers:

Sandra Cotarelo and Paloma Friedhoff. Sopranos
Sonia Gancedo and Teresa López Tabar. Altos
Fran Braojos. Tenor
Simón Andueza. Baritone and Direction.

A. Lobo

T. L. de Vitoria

F. Guerrero

C. de Morales

Popular Christmas Carols

PROGRAM NOTES

The “Golden Age” of Spanish music bore witness to surprising musical development, worthy of its economic pre-eminence over the rest of the 17th-century world. Focusing on music for Christmas and the Epiphany, ORCAM is exploring this rich musical treasure. One same programme boasts an irresistible blend of sumptuous harmonies with popular dances, bringing truly infectious joy. The concert’s central piece, Misa a 6 voces Beata Dei genitrix, for Christmas Matins, by fantastic Sevillian composer Alonso Lobo, has yet to earn all the praise it is due. This composition bursts with richness and light. Between movements, there are Christmas motets by Tomás Luis de Vitoria, Francisco Guerrero, and Cristóbal de Morales, along with an exuberant Ensalada de juventud by Mateo Flecha “El Viejo” to celebrate the birth of Jesus, in addition to traditional Christmas Carols set to popular tunes.

Performers:

Sandra Cotarelo and Paloma Friedhoff. Sopranos
Sonia Gancedo and Teresa López Tabar. Altos
Fran Braojos. Tenor
Simón Andueza. Baritone and Direction.

R. Strauss
Andante Op. Posth.

C. Nielsen
Fantasy Pieces for Oboe and Piano Op. 2

C. Reinecke
Trio for Piano, Oboe and Horn Op. 188

R. Schumann
Novelette No. 8 Op. 21

H. Von Herzogenberg
Trio for Piano, Oboe and Horn Op. 61

PROGRAM NOTES

A concert for piano, French horn, and oboe, bringing together pieces that range from German Romanticism (both early Romanticism, like Schumann, and late Romanticism, like Strauss) to some of the most well-known European composers of the late 19th and early 20th centuries, such as Denmark’s C. Nielsen and Austria’s Von Herzogenberg.

Performers:

Lourdes Higes. Oboe
Pedro Jorge. French horn
Karina Azizova. Piano

A concert in tribute to the essential importance of water in our lives. One of its most fantastic attributes is that you can travel through it, as shown on this hilarious boat voyage from Venice to Padua, fruit of Adriano Banchieri’s (1568-1634) astonishing imagination.

Barca di Venetia per Padova was first printed in Venice in 1605 by Ricciardo Amadino. It is the seventh secular music anthology by Adriano Banchieri, an Olivetan monk from S. Michele at the Bosco monastery of Bologna, one of the most well-known and theoretical composers of music in the early 17^th century. Of all his works defined as madrigal comedies, the Barca stands out for its rich, complex narrative framework that encapsulates musical pieces. This fantastic mini madrigal opera, infused all the way through with humour, has many different characters. They are split between boat representatives and passengers.

Performers:
Sandra Cotarelo and Paloma Friedhoff. Sopranos
Sonia Gancedo and Teresa López Tabar. Altos
Fran Braojos. Tenor
Simón Andueza. Baritone and Direction

Vivaldi
Sinfonia for strings in C major (approx. 5′)

S. Bach
Brandenburg Concerto No. 5 BWV 1050, flute, violin, and harpsichord soloists

S. Bach
Double concerto for oboe and violin BWV 1060 in D minor

Vivaldi
Concerto for flute and strings in D major Rv 433, op. 10 No. 1

Vivaldi
Concerto for oboe and strings in A minor, Rv 461

PROGRAM NOTES

Venetian Vivaldi is one of the greatest Baroque composers. A prolific creator, he composed around 770 works, which include approximately 400 concertos and nearly 50 operas. In addition to his own personal contribution, Vivaldi is also known for his profound influence on Germany’s Bach, whose work is considered the height of Baroque music. In this concert, these two geniuses “face off” so we can enjoy their work and see how their interactions have benefited music.

Performers:

María José Muñoz. Flute and Piccolo
Ana María Ruiz. Oboe
Anne Marie North. Violin
Alexandra Krivoborodov. Violin
Gladys Silot. Violin
Blanca Esteban. Viola
Nuria Majuelo. Cello
Susana Rivero. Counter-bass
Karla Martínez. Harpsichord

Georg Philipp Telemann
Suite
– Don Quijote

Luigi Boccherini
Divertimento No. 5 op 8 in D major

Jean Sibelius
Impromptu op 5 for string orchestra

P. Tchaikovsky
String serenade Op. 48

PROGRAM NOTES

The ORCAM Foundation string orchestra is performing a diverse, appealing programme. It includes pieces that range from Baroque music, represented by German composer G. P. Telemann, to the romanticism of Russia’s Tchaikovsky or Finland’s Sibelius, along with the 18th century’s Galant style, thanks to the divertimento composed by the Italian Boccherini.

Performers:

Violins I: Maceo Reynaldo, Gladis Silot, Felipe Manuel, Alexandra Krivoborodov
Violins II: Osmay Torres, Robin Banerjee, Magaly Baro
Viola: Jose Antonio Martínez, Sandra García
Violoncello: Stamen Nikolov
Counter-bass: Susana Rivero

Alonso
Una mujer madrileña, from Me llaman la presumida.

Alonso
Yo soy Lucinda, from Tres días para quererte.

Moreno Torroba
Piropo madrileño, from María Manuela.

Alonso
Habanera,from La cuarta de Apolo.

Alonso
Caleseras, from La Calesera.

Moreno Torroba
Las mujeres españolas, from María Manuela.

Alonso
Claveles granadinos, from Veinticuatro horas mintiendo.

Alonso
Pasacalle de los chisperos, from La Calesera.

Luna
Soy la chula madrileña, from La chula de Pontevedra.

Alonso
Serenata, from Coplas de Ronda.

Alonso
Palabritas de cariño, from Tres días para quererte.

Alonso
Pasodoble, from La Zapaterita.

Soutullo and J. Vert
Pasacalle de las mantillas, from El último romántico.

Moreno Torroba
Pasacalle, from de La chulapona.

PROGRAM NOTES

With mythical zarzuela composers such as Francisco Alonso, Federico Moreno Torroba, and Pablo Luna, this concert brings together a series of emblematic pieces that shine a special spotlight on women. These works provide spectators with the opportunity to see the broad range of female roles in popular music during the first half of the 20^th century, with beloved characters like the chulapa.

Performers:

María Jesús Prieto, Victoria Marchante. Sopranos
Isabel Egea, Julieta NAvarro. Mezzo-sopranos
Igor Peral, César Arrieta Tenores Fabio Barrutia, David Rubiera. Basses
Javier Carmena. Piano

L.V Beethoven
Irish songs WoO 152. Selection

 V. Williams
Along the field. Selection

 J. Brahms
Gestillte Sehnsucht de Zwei Gesänge

 H. Berlioz
La captive

C. Saint Saëns
Violons dans le soir

B. Martinu
Primrose

 V. Weigl
Songs newly seen in the dusk. Selection

J. Marx
Du bist der Garten

F. Bridge
Music when soft voices die

R. Miranda
Cantares

M. de Falla
Seven popular Spanish songs.

PROGRAM NOTES

The poetic ambience of Saint Saëns’ song, where the violin strings and bows meld with the singing of nature and expression of the voice, is the epigraph to this concert that explores conjunction of voice with string instruments. The two female singers, along with the violin, the violoncello, and the piano in multiple different combinations, create sound atmospheres through poetic texts set to music by renowned composers like Beethoven, Brahms, Berlioz, Saint Saëns, and Falla. At the same time, we discover other jewels from lesser-played authors, such as Vaughan Williams, Frank Bridge, Bohuslav Martinu, and others lesser-known, such as Joseph Marx, Ronaldo Miranda, and composer Vally Weigl.

Performers:
Paz Martínez . Contralto
Joana Thomé. Mezzo-soprano
Victor Arriola. Violin
Rafael Domínguez. Violoncello
Juan Carlos Cornelles. Piano

F. Mendelssohn
Trio for piano in D minor, Op. 11

C.W -Schumann
Trio for piano in G minor, Op. 17

PROGRAM NOTES

Concerto that showcases the talent and inspiration of women composers of German Romanticism, with the inclusion of two essential trios from the catalogue of works by composers Fanny Mendelssohn (Hamburg, 1805 – Berlin, 1847) and Clara Wieck Schumann (Leipzig, 1819 – Frankfurt, 1896).

Performers:
Ema Alexeeva. Violin
Nuria Majuelo. Violoncello
Karina Azizova. Piano

W.A. Mozart
Quintet in C Major KV515

W.A. Mozart
Quintet in G minor KV516

Performers:

Gladys Silot. Violin
Felipe Manuel Rodríguez. Violin
Eva Martín. Viola
Iván Martín. Viola
Ángel García Jermann. Violoncello

PROGRAM NOTES

The Quintets for string quartet and a second viola are a small corpus of singular significance in Mozart’s art. Like the fifth voice in the motets and madrigals of the 16th and 17th centuries, the fifth instrument added a new dimension to predominant chamber music education, with depth of thought and quality in texture. This provides greater variety in dialogues and new, ingenious combinations in harmony and counterpoint.

W.A Mozart
Trio in E-flat major K.498

R. Schumann
Märchenerzählungen Trio Op. 132

 M. Bruch
5 pieces Op. 83

Performers
Salvador Salvador. Clarinet
Eva Martín. Viola
Karina Azizova. Piano

PROGRAM NOTES

Fairy Tales, the Bowling Trio: lovely monikers for marvellous music. The first known composition in music history for clarinet, viola, and piano is the Kegelstatt or Bowling Trio Op. 498 by Mozart. The famous moniker comes from a legend that says Mozart composed this trio while bowling. It was first performed (with Mozart himself on the viola) at the Jacquin family’s home and was dedicated to one of their daughters.

Märchenerzählungen, or Fairy Tales, Op. 132, were written by Schumann shortly before entering the sanatorium where he spent the last years of his life and are one of his last compositions. Although composed before his suicide attempt, the music is concise and joyful.

The 8 Pieces for clarinet, viola, and pinao Op.83 by Bruch perfectly align with Schumann’s romantic spirit and his Fairy Tales. On this occasion, we will hear pieces 1, 3, 5, 7, and 8.

I

Benjamin Britten
A Ceremony of Carols
– Procession (Hodie Christus Natur est), Gregorian Antiphon
– Christmas Eve Del Magnificat
– Wolcum
– There is No Rose
– That Yonge Child
– Balulalow
– As Dew in April
– This Little Babe
– Interlude (harp solo)
– In Freezing Winter Night
– Spring Carol
– Deo Gracias
– Recession (Hodie)

II

John Rutter
Christmas Lullaby
Nativity Carol

Gustav Holst
In the Bleak Midwinter

Bob Chilcott
Tomorrow shall be my dancing day
The marvelous birth

Kristen Allred
The Infant King

Dave and Jean Perry
A Festive Noel

Mark A. Brymer
Santa Baby

Alex Anderson
Mele Kalikimaka

Victor C. Johnson
African Noel

Philip Hagemann
Fruitcake

PERFORMERS:
Victoria Marchante, María Jesús Prieto, Sandra Cotarelo and María Caneda, sopranos.
Carmen Haro, Anabel Aldalur, Ana Cristina Marco, Sonia Gancedo and Marta Bornaechea, mezzo sopranos.
Karina Azizova, piano.
Alfredo Anaya, percussion.
Laura Hernández, harp.
Celia Alcedo, director.

I

Benjamin Britten
A Ceremony of Carols
– Procession (Hodie Christus Natur est), Gregorian Antiphon
– Christmas Eve Del Magnificat
– Wolcum
– There is No Rose
– That Yonge Child
– Balulalow
– As Dew in April
– This Little Babe
– Interlude (harp solo)
– In Freezing Winter Night
– Spring Carol
– Deo Gracias
– Recession (Hodie)

II

John Rutter
Christmas Lullaby
Nativity Carol

Gustav Holst
In the Bleak Midwinter

Bob Chilcott
Tomorrow shall be my dancing day
The marvelous birth

Kristen Allred
The Infant King

Dave and Jean Perry
A Festive Noel

Mark A. Brymer
Santa Baby

Alex Anderson
Mele Kalikimaka

Victor C. Johnson
African Noel

Philip Hagemann
Fruitcake

PERFORMERS:
Victoria Marchante, María Jesús Prieto, Sandra Cotarelo and María Caneda, sopranos.
Carmen Haro, Anabel Aldalur, Ana Cristina Marco, Sonia Gancedo and Marta Bornaechea, mezzo sopranos.
Karina Azizova, piano.
Alfredo Anaya, percussion.
Laura Hernández, harp.
Celia Alcedo, director.

Johann Sebastian Bach
Herz und Mund und Tat und Leben, BWV 147
– Jesus bleibet meine Freude (Choral)
Magnificat
– Et misericordia (Duo)
Wachet auf, ruft uns die Stimme, BWV 140
– Gloria sei dir gesungen (Choral)

George Friederich Händel
Messiah, HWV 56
– I know that my Redemer liveth (Air)
Jephtha, HWV 70
– Waft her, angels, through the skies (Air)

Felix Mendelssohn
Elias, Op. 70
-Die Tiefe ist versieget!… (Rezitative)
-Herr, höre unser Gebet (Duett)
-Zerreißet eure Herzen… (Rezitative)
-So ihr mich von ganzem Herzen suchet (Arie)
-Was hast du an mir getan (Rezitative, Arie und Duett)
-Herr Gott Abrahams, Isaaks und Israels (Arie)
-Wirf dein Anliegen auf den Herrn (Quarttet)
-Weh ihnen, daß sie von mir weichen (Arioso)
-Es ist genug! So nimm nun, Herr (Arie)
-Wohlan, alle, die ihr durstig seid ( Quarttet)

PERFORMERS:
Sandra Cotarelo, Soprano
Anabel Aldalur, Mezzo soprano
Gerardo López, Tenor
David Rubiera, Baritone
Javier Carmena, Pianist

Vivaldi
– Concerto for piccolo in C Major Op. 4
– Allegro
– Largo
Allegro molto

(Piccolo: Mª José Muñoz))

Marcello
– Concerto for oboe in D minor
– Andante
– Adagio
– Presto

(Oboe: Ana Ruiz)

Sebastian Bach
Suite 2 in B minor
– Ouverture
– Rondeau
– Sarabande
– Bourrée I/II
– Polonaise (Lentement)
– Double
– Minuet
– Badinerie

(Flute: Mª José Muñoz)

PERFORMERS:
Anne M. North, violin I
Alexandra Krivoborodov, violin II
Blanca Esteban, viola
Nuria Majuelo, violoncello
Susana Rivero, double bass
Ana Mª Ruiz, oboe
Mª José Muñoz, flute and fife

I

Vivaldi
Sonata in G Major
– Allegro
– Larghetto
– Allegro

Quantz
Sonata in C minor
– Andante moderato
– Allegro
– Larghetto
– Presto

II

Philipp E. Bach
Trio in E Major
– Allegretto
– Adagio Molto
– Allegro Assai

Sebastian Bach
Sonata Trio in D minor
– Adagio
– Allegro
– Largo
– Vivace

PERFORMERS:
Mª Teresa Raga, flute
Mª José Muñoz, flute
Núria Majuelo, violoncello
José Segovia, keys

La Gran Vía: piano solo introduction

La Gran Vía: Safety Waltz

La Gran Vía: Sergeants’ Paso Doble

Bateo: Organ grinder potpourri

El año pasado por agua: Neptune’s Waltz

Agua, azucarillos y aguardiente: piano solo interlude

El chaleco blanco: Washerwoman’s Chorus

Bateo: Wamba’s Tango

Agua, azucarillos y aguardiente: Nursemaid’s Choir

Bateo: The photographer’s polka

Agua, azucarillos y aguardiente: Quartet

PERFORMERS:

María Jesús Prieto, Vanessa García, sopranos
Marta Knörr, Isabel Egea, mezzosopranos
Igor Peral, Fran Braojos, tenors
Alfonso Baruque, bass
David Rubiera, baritone
Karina Azizova, piano

Script by José Prieto Marugán

Narrator: Marta Knörr

The concert will be recorded for later broadcasting. The online version will be available soon.

Robert Schumann
So war di sonne scheinet (Minnespiel op. 101)

Robert Schumann
Spanisches Liederspiel op 74

Johannes Brahms
Intermezzo n.2 op 118 (piano solo)

Johannes Brahms
Zigeunerlieder op. 103

PERFORMERS:

Mercedes Lario and Sandra Cotarelo, soprano
Sonia Gancedo and Julieta Navarro, contralto
Igor Peral and Víctor Sordo, tenor
Fernando Rubio and David Rubiera, bass
Javier Carmena, piano

Schumann
Adagio und Allegro Op. 70 (French horn and piano)

Wieck
Scherzo n.2 (piano solo)

Brahms
Scherzo (violin and piano)

Brahms
Horn Trio Op. 40 (French horn, violin and piano)

PERFORMERS:
Pedro Jorge, French horn
Anne Marie North, violin
Karina Azizova, piano

PROGRAMME NOTES

R.Schumann

Quintet for piano in C flat, Op. 44

I. Allegro brillante

II. In modo d’una marcia. Un poco largamente

III. Scherzo: Molto vivace

IV. Allegro ma non troppo

A. Piazzola

Invierno Porteño (violin, violoncello and piano)

A. Adam

Cantique de Noël

Traditional Castilian

Brincan y bailan

I. Berlin

White Christmas

M. Leontovych

Shchedryk (Ukrainian carol)

L. Mason

Joy  to the World”

F.Gruber

Silent Night

Interpreters:

Reynaldo Maceo, violin I

Robin Banerjee, violin II

José Antonio Martínez, viola

Stamen Nikolov, violoncello

Karina Azizova, piano