One of the most celebrated news in recent years within Early Music was the discovery of the works of Antonio Caldara, the author who, in conjunction with Handel, best has composed for the voice during the baroque period. The road to its replacement began a little over 25 years when René Jacobs, already brilliantly devoted to conducting, rescued the manuscript of the work Magdalene at the feet of Christ (1697-1698) in Vienna, and took it to record in a mythical multi-award winning recording that still moves us deeply to this day. That extraordinary music Caldara, full of lyricism, of rhetorical games and operatic twists, return the 10 April at 19:00 hours to the National Center for Musical Diffusion (CNDM), under the direction of Jacobs himself to bring it back to light in 1996 and embraced by one of the referential orchestras in the 18th century repertoire, the Freiburger Barockorchester.

The Maddalena de Caldara is much more than a Venetian oratory. It actually functions as a kind of sacred opera that, thanks to the composer's genius, becomes a compendium of beauties where the earthly and the spiritual of the human being compete for making room between his arias. Is, definitely, the old conflict between desire and reason that human beings have needed so much to sing and write. What makes this concert one of the events of the season It's not just the return to the stage of Caldara's privileged score, but the fact of doing it hand in hand with one of the directors who best understands the phenomenon of singing, René Jacobs, and sheltered by what for many years has been and perhaps still is the spearhead of specialized orchestras. Some of the most memorable recordings and concerts of the last two decades have emerged from this splendid tandem..

To face this composition that Caldara imagined so demanding, it is necessary a distribution of guarantees, which in this case leads the coveted soprano Giulia Semenzato, a versatile voice capable of dazzling the Royal Opera House as Sussana in The Marriage of Figaro and to the Aix-en-Provence Festival with his Nannetta in Falstaff. The middle Marianne Beate Kielland and tenor Joshua Ellicott accompany Semenzato in a cast that completes some of the most interesting voices of the baroque scene, as the countertenor (ganador del X The Garden of Voices) Alberto Miguélez Rouco,  baritone Johannes Weisser and alto Helena Rasker.

The Freiburger Barockorchester, in excellent shape, returns to Madrid after his successful concert with the Requiem from Biber from last season. Few orchestras can boast of maintain such high quality standards for more than three decades within the historically informed interpretation, and such a marked responsibility when it comes to recover forgotten repertoire through the years. Some of his recordings, as the Don Giovanni Mozart with Jacobs precisely, remain today as indisputable references.

In a music with such a rhetorical charge, it is essential to have a guide that translates the baroque codes to the present day. A) Yes, and as part of the pedagogical initiative “in the court theater” CNDM, to 18:00 hours will take place in the Assembly Hall of the National Music Auditorium a talk by Eduardo Torrico, specialist and chief editor of SCHERZO magazine, and where, in an informed and carefree way, the fundamental secrets of the work will be unraveled .

When René Jacobs made the leap from singing to musical direction, Few could imagine sense of color when dealing with timbre of the orchestra and its development taste for hue. Several decades later and with almost three hundred recordings behind him, we can see him again in action with one of his fetish works, and in charge of the orchestra with which he maintains the best chemistry, all this on stage Symphony Hall of the National Auditorium, with locations ranging from 15 a 40 euros, on sale at the box office of the National Music Auditorium, INAEM theaters, and on the phone 91 193 93 21.

©Photo Philippe MATSAS

Entrevista Ottavio Dantone1


Entrevista Ottavio Dantone2


Entrevista Ottavio Dantone3


Entrevista Ottavio Dantone4


Entrevista Ottavio Dantone5



His project is called "Revolution". What is the real revolution of Baroque music?

Revolution Baroque music in the last fifty years has experienced various stages, as the stage of rediscovery of ancient instruments, the language and its communication to the general public. Our project wants to extend the temporary space of early music this term extending until the nineteenth century, in order to show that the music of the nineteenth century is still nourished by many gestures and expressive codes from centuries past, that the listener can reveal today still hidden aspects and details, capable of producing new emotions, already forgotten.

Venetian composers Albinoni, Marcello, Vivaldi y Galuppi. What each brings special baroque?

All these composers, along with many other, They have helped create a style that in the eighteenth century Venice attracted musicians and music lovers from all over Europe. A rhythmic style that presents solutions, melodic and harmonic characteristics, product of influences from the many cultures that crisscrossed in a multiform and multifaceted city as the Venice of the time. A style, Besides, who has had a great influence on many musicians; first of all, J. S. Bach.

Why express baroque music in such a precise feelings and passions?

The link between the composer of Baroque music with the executing agency and ultimately the listener is characterized by an aesthetic that conceives emotions and passions in an order that determines the moments, in certain sensations are experienced. Definitely, we are talking about musical rhetoric, whose application enables us to understand this time and relive the emotions and passions stronger and sincere.

Do you think the codes currently used to transmit and receive baroque music are different from those used at the time of its composition? How it is evolving musical language?

In my opinion, Today is absolutely necessary to use the same codes then, because it is the only way we have to get as close as possible to what was in the mind of the composer and getting, so, the musical and emotional result is stronger and more communicative. What changes today from the past is perhaps the sound perception in relation to the spaces, with the consequent risk of distorting the meaning of the musical material.

Delving into the knowledge of Baroque music opens an infinite universe of communication and knowledge, no solo musical. After many years of career and a thorough study, semiotic cases, Baroque music, What is your diagnosis for this genre today?

I have spent over forty years studying ancient music and all aspects that characterize, not only music, but also historical, philosophical, sociological, etc. All this has allowed me to understand how much remains to be done to understand and learn new things that can be transmitted to others. It has also helped me to realize that this music still gets talk, and now seem despite the passage of time.

What we can expect is his new album: "Concerts for Strings III and concertos for viola d'amore" para prestigious Vivaldi Edition (classical naïve)?

Our last recording aims to highlight the extraordinary ability to tell Vivaldi always something new and original, albeit through a brief and seemingly stereotyped as Concerto for Strings. We wanted to delve, in deep, in the details, sometimes, hidden, that make these wonderful "miniatures", to make emerge the thousands of different solutions that are able to implement this great composer, while maintaining its recognizable and unique style. The Concertos for Viola d'amore They represent a body of work unique in its kind, allowing us to better understand the timbral and expressive possibilities of this mysterious and little-known instrument.

Through videos of his latest work we realize the importance of image and staging. How important is the aesthetic audiovisual communication as an element of his art?

I believe the visual element is, definitely, important to communicate and convey emotions quickly and effectively at all listening levels. Let us not forget that at the time baroque, the look "synesthetic", even music, It was very important. sounds, colors, effects, choreography or visual spectacle fascinated the listener and strongly conditioned the perception.

Is it a contradiction to say that Baroque music takes us back to the future?

Modern man, unlike previous centuries, look at the art and so also the music, moving elements of the past to contemporary aesthetics and sensitivity. Y, evidently, past and future are intertwined with researching their roots, and aesthetic requirements and future.

What makes Ottavio Dantone when not making music?

I relax in my house with my family, although the music does not leave me practically never.


European Day of Early Music

The European Day of Early Music, conocido como European Day of Early Music (EDEMA), celebrates its sixth edition next 21 of March, besides being the first day of spring coincides with the anniversary of the birth of Johann Sebastian Bach, the most prominent composer known as Early Music.

The European Day of Early Music is an initiative promoted by REMA (European Early Music Network), European network dedicated to promoting ancient music performed with historicist criteria. Founded in Ambronay Year 2000, REMA gathers 86 institutions 22 European countries, among which the Philharmonie de Paris, the Valletta International Baroque Festival Malta, Casa da Música in Porto, los Music Festival Potsdam Sanssouci, the Monteverdi Festival or the Music Festival of Ubeda and Baeza.

During the day, concerts will be held, conferences and workshops simultaneously across Europe in order to value an artistic heritage, historical and musical representing more than a thousand years of history. Many of these activities can be followed live streaming on Facebook pages Total earlymusicday and Baroque, and the web, as well as several national broadcasters through collaboration with the European Union Radio-Television.

Skip Sempé, clavecinista, director and founder of Capriccio Stravagante, will be the Ambassador of the sixth edition of the European Day of Early Music (EDEMA), which will feature the participation of artists and institutions of international prestige in the field of early music as Wunderkammer of Trieste, Pavia Barocca - Collegio Ghislieri, International Handel Festival Göttingen, el Ambronay Cultural Encounter Center, The Spiritual Concert & Hervé Niquet o el Concertgebouw Brugge, among others. Spain will be represented with a total of ten events, organized by the Conservatory of Music in Menorca, The Archduke’s Consort (Mallorca), CdM Cultural Foundation (Valencia), A5 Vocal Ensemble (Sevilla), Romandela and Carlos Antwerp Foundation (Madrid), the Teatro de la Comedia de Madrid, Spain (Majadahonda), y el Early Music Project (Murcia).

the EDEM, that emerged in 2013 with the support of which was European Commissioner for Culture, Androulla Vassiliou Cypriot and renowned musician Jordi Savall, It has established itself as an important international meeting, in which many performers and organizations join forces to give greater visibility to early music. Prominent figures historicista movement Jacobs René, William Christie, Hervé Niquet Enrico Onofri or have supported this initiative, which last year reached a high level of participation, with 130 events 24 countries, a total of 91.466 visualizations on Facebook.

More information

Ars Atlantic

There is this the first season in which the Teatro de la Zarzuela program cycle Notes Ambigú. Already last year he hung the sign "no tickets" in all actions of the cycle. To see and hear a few meters unquestionable quality interpreters, It is a gift that does not always have access. And, Besides, the price of the town is 10 €, the gift is literal.

Last monday 11 from December, Theater in Ambigú had the opportunity to attend one of these musical gems, which they staged the mezzosoprano Marta Infante and harpist Manuel Vilas They are forming the duo Ars Atlantic. They offered a repertoire of tunes and Spanish baroque composers such as zarzuelas Juan Hidalgo O Sebastian Duron. Works created to be performed in the salons of the time and in the Theater Ambigú acquire a special character. Voice and baroque harp Vilas Infante and transported the audience perfectly recreating the Renaissance atmosphere of the sixteenth and seventeenth century. They illustrated each work, expert knowledge as they are, with comments that kept awake its history and secrets of their composition, They are not in vain, besides great interpreters, expert divers on a little-known repertoire. Its research and retrieval of these works in the most unexpected places, It is commendable and never sufficiently recognized.

Marta Infante's voice is generous, its serious and registry changes are fluid thanks to a solid support that allows you to navigate the passage naturally. The wide range of his voice and phrasing full of intent and expressivity, Marta Infante make one of the best Spanish interpreters of this repertoire. Manuel Vilas, knowledgeable harp like no two orders and a tireless scholar of Renaissance and Baroque Spanish, It was the perfect match for the voice of Infante. His mastery of the instrument and interpretation taste in detail transported the audience to a universe that was difficult to return.

A hit and a gift from Teatro de la Zarzuela programming these concerts. Near the pubic less common repertoires closer and welcoming environment.

Carlos Mena

Since the end of the Renaissance, the musical treatises of the Lutheran orbit speak of poetic Music, letter giving nature an anthropological orientation. In this program the Concento of Bozes, a new musical and educational project born in the Academy of Ancient Music USAL under the impulse of Carlos Mena, It offers an anthology of this process in Germany in the first half of XVII: a veritable bouquet of masterpieces of which was a new musical oratory.

The Academy of Ancient Music of the University of Salamanca was created in 1990 in order to become a training center and production in the field of historical musical performance. Since then, having as main groupings with a baroque orchestra, one viol consort and chamber choir, He has offered hundreds of concerts, courses and seminars violin, viola and cello Baroque, singing, viola da gamba, key, Plucked instruments, etc. It counts with teachers of the highest qualification. A Pedro Gandia, Itziar Atutxa and Andoni Mercero names are attached as Enrico GaU, Sigiswald Kuijken, Jaap ter Linde, Wieland Kuijken, Vitorio Ghielmi, Wimten Have, Jacques Ogg, Wilbert Hazelzet, Juan Carlos de Mulder, Maggie Urqhart, Marion Middenway, Richard Levi], Carlos Mena, to more than a hundred employees. The Chamber Choir of the University of Salamanca was created in 1984 in order to specialize in the Iberian polyphony of the sixteenth and eighteenth centuries. Since then he has been conducting an intensive dissemination and study of this repertoire, which has resulted in hundreds of concerts, many of which have led to the revival of couple:tures unpublished for this period. He has participated in numerous cycles and festivals such as the National Meeting of polyphony 1987, el music cycle time of the discoveries (Lisboa), I sample the Spanish polyphony (Würzburg), Reviewing the Poly International (Bologna), the XIV Chamber Music Cycle and Polyphony (Auditorio Nacional de Madrid), Music Week Canary Islands, Music in Spain expulsion (Aaron Copland Lincoln Center and Auditorium New York), Music in the Cathedral of Santiago de Compostela in the eighteenth century, Weeks of Religious Music of Salamanca, XVIII Conference Gulbenkian Early Music (Lisboa), Porto 2001, The Golden Age, Music and Heritage (Salamanca, 2002), Christmas concert series Caja San Fernando, Square Sacra cycle (Salamanca, 2005), festival Florilegio (Salamanca), Check the FEX:Val International Music and Dance in Granada, X Early Music Festival of Ubeda and Baeza, X edition of the festival Classics Border (Huesca), Victoria and polyphony cycle time (Ávila), etc. It has several labels editions for RTVE, Tritó, Verso Movieplay and have received excellent reviews (album of the month in Rhythm, 5 Goldberg stars, etc.). Also RNE Radio 2 he has devoted several programs. He has performed with bands and orchestras as Sacqueboutiers of Tolouse, Lisbon Segreis, the Orquesta Barroca The Foundation, Bilbao Symphony Orchestra, the Geneva Conservatory Orchestra, the Ensemble Elyma, Musicians Your Highness, the Baroque Orchestra of Seville, Gerardo Chamber Orchestra Gombau, etc. Likewise, regularly collaborates with the Baroque Orchestra and the Consort of viols of the University of Salamanca.

6 February 2017 to 20:30h. Hospedería Fonseca in the Auditorium of the University of Salamanca.

Jean Guillou

The National Broadcasting Center Musical co-produces the XXXIII International Organ Festival of the Cathedral of Leon (FIOCLE), proposed in this edition 13 concerts, from the 21 September to 10 of November, in the Leonese seo.
All concerts will be freely accessible until full capacity Cathedral.

He 15 September director National Dissemination Center Musical, CNDM (INAEM unit, Ministry of Education, Culture and Sports), Antonio Moral, with the director of the International Organ Festival of the Cathedral of Leon (FIOCLE), Samuel Rubio and the mayor of León, Antonio Silvan, He has presented the thirty-third edition of the festival, CNDM activity co-produced and included in the programming of their season 16/17. This edition proposes 13 concerts taking place in the Leonese seo 21 September to 10 November 2016. These activities continue CNDM commitment to promote and recover the ancient musical heritage throughout the country, through its programming in twenty Spanish cities and four foreign (Bogotá, Munich, Vienna and Elvas, Portugal).

Organ and more

The programming of the thirty-third International Festival of Organ of the Cathedral of Leon maintains its essence with eight recitals organistic biggest names in world outlook while opening its doors to five other musical offerings by leading Spanish historical music sets. the Viennese Martin Haselböck, organist and director of orchestra recognized internationally for being the artistic director and founder of the prestigious ensemble Wiener Akademie, will attend to inaugurate the festival on Wednesday 21 of September, with a tour that opens with the famous Toccata and Fugue in D minor of J.S. Bach and includes volumes, one of the most important works for organ by Ligeti and contemporary organ literature, what will add improvisation on a given theme, exploiting all the possibilities of this magnificent organ. The second date, two days later, will transport the audience to the Middle Ages through the music accompanying the dances staged the European Middle Ages, most of them unknown author, leonine hand set Eloqventia and its director, Alejandro Villar. The third evening resubmitted harpsichordist Eduardo López Banzo accompanying the singers selected in the Baroque Vocal Interpretation Course organized by the CNDM in the Auditorio Ciudad de Leon and run by the same Banzo each year: las sopranos Elia Casanova, Rosa Garcia Dominguez and Muñoz also Quiteria Inglada countertenor Christian Gil Borrelli, young artists who excelled in the interpretation of Baroque cantata and sing Italian arias at this concert four great masters of that time: Carl Philipp Bach, Antonio Vivaldi, George Frideric Haendel y Antonio Caldara.

This year marks the third anniversary CNDM death of Baroque composer Sebastian Duron (1660-1716), with a transverse cycle consisting of thirteen concerts that will travel throughout the country. Two of those appointments will be included in this festival: in the first, soprano Raquel Andueza and whole the Galania, place the alcarreño genius as the core of a program that explores the sacred music of that era, through various manifestations of religious music (and sung tones Duron) with any corporation or other contemporary page yours as Carlos Subias, Antonio Martin y Coll and Gaspar Sanz, which they will perform its known Folías. In the second program starring Duron, the Chapel Jerome Carrion and its director Alicia Lazaro They were immersed in unpublished music of the seventeenth century, Duron contrasting vocal scores of sacrum, as well as three other great representatives of Spanish baroque: Juan Hidalgo de Polanco, José Marín and Jerome Carrion. In the last concert of the organ will not only hear the medieval treasures of file rescued by Leon Cathedral Juan Carlos Asensio and his group Schola Antiqua, in what will be the first performance in modern times of processional liturgies of Saints Isidoro, Antolín and Santiago.

Besides Haselböck, the festival will collect in the organ concerts a broad stylistic and temporal spectrum, Iberian works of literature, prominent figures of the late Romanticism of Liszt -case or Franck-language and contemporary Messiaen. No less interesting will result the recovery of two traditions closely linked to the king of instruments, improvisation and adaptation of scores from other sound fields, as a sonata for piano of Beethoven or Wagner opera scene. These spectacular versions exploit the concept of organ and orchestra, something that Widor, with his symphonies written directly for the instrument, He was a teacher. A) Yes, leonine public can listen in this edition organists Juan de la Rubia (head of the Holy Family, which will travel in his program works by Bach, Franck, Duruflé and the original settlement of the "scene Walhalla" belonging to the opera Götterdämmerung Wagner), Giampaolo di Rosa (Leon will present the complete works for organ by Olivier Messiaen, alongside works by Franck and Beethoven), Vincent Dubois (one of the organists holders of Notre Dame de Paris, He has chosen repertoire of three of the most important composers in the history of organ: Bach, Franck there Messiaen, what will add an extraordinary transcription for organ danse macabre Saint-Saëns), Jean Guillou (a true living legend of the organ who was an adviser in the construction of the new organ of the Cathedral of Leon, returns to it with a program consisting of a movement sixth Symphony de Charles-Marie Widor, a work of Liszt and two own songs), Daniel Oyarzabal (which will begin its concert with the famous Cantata BWV Symphony 29 Bach teacher, who they will be accompanied by his two compatriots pieces of Mendelssohn and Brahms and Messiaen works, Rimsky-Korsakov and Mussorgsky y), Paolo Oreni (you have chosen for the occasion scores of Mozart, Bach, Liszt, Dupré and improvisation itself) and Lebanese interpreter Naji Hakim, which will close the festival on Thursday 10 November with the famousPassacaglia Bach with parts Cabanilles, Franck and own works.

All festival concerts will be free access until full capacity Cathedral.

Maria Espada

He Aranjuez Ancient Music Festival comes to an end with two new proposals: a walk through the Royal Site and one last concert, this time at the Royal Theater Carlos III. The present edition of the contest has surprised with the new proposals. Apart from the traditional concerts, We have also been able to enjoy guided tours of the most spectacular and unknown heritage of Aranjuez, musical boat rides on the Tagus River and, even, a pairing of old music and local products at Bodega de Carlos III. The next sunday, day 12 of June, We will take a guided walk through the Aranjuez de Carlos III to commemorate the third centenary of this monarch. Carlos III, how can we check, left a deep mark on riverside architecture. We will start the route at the Royal Palace, to visit Examples of urban development prompted the monarch, until arriving at the Royal Theater that bears his name. The concert that closes the festival will be held there, by the renowned soprano from Extremadura Maria Espada, accompanied by the Catalan theorbo Maria Ferré and the viola da gamba of Amelia Way. Together they will interpret pieces of the Italian seicento. Program of the last weekend of the Aranjuez Ancient Music Festival: - Sunday, 12 of June. Concert: Maria Espada, Maria Ferré and Amélie Chemin + (optional) guided visit: Carlos III footprint in Aranjuez.

The guided tour of 12 of June, organized by Ábside Cultural Management, will leave at 17 hours from the gate of the Palace's Patio de Armas, next to the gate of the Plaza Elíptica, to tour the Plaza de las Parejas Reales, the Plaza de San Antonio and the Patio de Infantes. That day we will discover the plan of the city projected in many of its streets and main spaces by the architects of the monarch Carlos III. The tour will end in the surroundings of the Royal Theater, where we will enjoy the concert at 19 hours. The three performers will offer us pieces of Domenico Mazzocchi, Jerome Kapsberger, Barbara Strozzi, Benedetto Ferrari, Girolamo Frescobaldi, Claudio Monteverdi O Giacomo Carissim.

Orquesta Barroca de Sevilla

Aranjuez Ancient Music It brings together in one weekend to several renowned performers who have already made their mark in previous editions of the festival. Saturday, 21 of May, he Ludovice Lisboa assembly, with soprano Maria Hinojosa, We propose a music concert with Spanish influence on the soirees of the Portuguese court early eighteenth century. Before the concert is possible to participate, optionally, on a tour of the city, organized by the Civic Forum, that part of the bull ring and culminates in the appended constructions giving Palacio service same. Aranjuez unveiled experts on the history and curiosities of these places, where we will listen to musicians.

On Sunday, 22 of May, return, after their success in last year's edition, the soloists of the Orquesta Barroca de Sevilla (OBS) with an extraordinary concert, Custom Madrid. This time come with a program of sacred music in the Europe of Carlos III, with alternating works by Spanish and European composers culminating with the gorgeous glory Händel. They will be accompanied by soprano Marta Almajano, historical interpreter who returns once more to his house, Early Music Festival Aranjuez.

the third weekend of Ancient Music Festival Aranjuez program:

Saturday 21 of May. Concert: Maria Hinojosa & Ludovice Ensemble + (optional) guided visit: Plaza de Toros the Patio de Caballeros The festival continues its commitment to combine music and scenery. Saturday, from 17:30 a 19:30 hours, it is possible to point us to tour. This second tour organized by the Civic Forum of the Plaza de Toros, built in 1796 in order of Carlos IV and declared Historic-Artistic. In 1809 It was destroyed by fire, reconstruyéndose 20 years later by Fernando VII, who gave the City. It is one of the three bullrings eighteenth century still stand and use, next to the Maestranza in Seville and the Plaza de Ronda. Houses inside the Museo Taurino, which allows a tour inside the building, In addition to observing various garments, utensils and posters of important masters of bullfighting. The walk continues along the Corrala of Bellotero (Stuart street), Corrala of Alvarez and Hostal Castilla (Andalusia road), Patio de Caballeros and Crafts (Couples Square), to finish in the Chapel Royal Palace half an hour before the concert.

El Ludovice Ensemble (specializing in the repertoire of vocal and instrumental chamber group the XVII and XVIII, based in Lisbon) It is made up Fernando Miguel Jalôto (Harpsichord y direction), Diana Vinagre the violoncello and Pablo Zapico with tiorba. In the El Tajo festival program. Music for the Courts of Lisbon and Madrid that will offer us the 20 hours in the palace chapel, accompanied by the Catalan soprano Maria Hinojosa Montenegro, we can hear sonatas José Antonio Carlos de Seixas or Giovanni Bononcini, and cantatas Domenico Scarlatti, André da Costa, Jaime de la Tea and Sagau or Emanuele D'Astorga. - Sunday, 22 of May. Concert commemorating the tercentenary of Carlos III: Soloists from the Baroque Orchestra of Seville (OBS), Marta Almajano the palace chapel hosts on Sunday, to 19 hours, -encargo an extraordinary concert of the Community of Madrid to commemorate the 300 birthday of Carlos III- led by the soloists of the OBS (National Music Award 2011), Aragon accompanied by soprano Marta Almajano. The program, called Sacred Music in the Europe of Carlos III, brings us pieces of Domenico Scarlatti, Charles Avison, Juan Francés de Iribarren, Antonio Caldara Y Antoni Lliteres Carrió. as colophon, We hear the unmistakable Gloria Handel. Agenda of upcoming concerts: Saturday, 28 of May. Bodega del Real Cortijo. Carlos III, 1782. Tour and concert at the winery with tasting: Seldom Sene (flute quintet) The cellar of Carlos III (Historic-artistic monument from 1983) covers more than half a kilometer under the Real Cortijo de San Isidro. The visit begins in the monumental stone doorway of Colmenar, and then its two branches will travel, flanked by 200 alcoves where they age the wines. The concert, by the Dutch quintet Seldom Sene (more than 50 flutes on a tour 500 Years of Music), It will be held in the cave breeding. Upon completion of the wines will be tasted, accompanied by an appetizer.

Sunday, 29 of May. Concert: Fahmi Alqhai & Rami Alqhai. The Spirit of FigA unique concert or two violas da gamba by the brothers Alqhai awaits us in the Chapel. The viola da gamba was the queen of instruments camera for 250 years. His journey began as part of the baggage of the Borgia popes from his native Valencia to universal Rome, back in the fifteenth century. During those two and a half centuries, the espí- Ritu Viola traveled throughout Europe and, with the, virtuosos of the instrument were making their mark in their repertoire: Tobias Hume In England, Marin Marais Y Forqueray in France, and Schaffrath school in Berlin and Prussia. - Sunday, 12 of June. Concert: Maria Espada, María Ferré Y Amelia Way + (optional) guided visit: walk in the Aranjuez of Carlos III Carlos III left a deep imprint on the waterfront architecture, as we shall see in this tour. We depart from the palace, to visit Examples of urban development prompted the monarch, to the Royal Theater that bears his name. There the concert closing the festival is celebrated, by the renowned soprano María Espada, accompanied by the theorbo of María Ferré viola da gamba is the path of Amélie. Together they will offer a selection of jewelry six hundred italiano.

Miguel Delibes

the CCMD Delibes + Antiguan cycle begins. It will be on Wednesday 2 and Thursday 3 from December, in the Chamber Hall of artistic space. The work of Pepper, composed 16 pieces, It is one of the most important compositions for violin Baroque, very revolutionary for its time, and it stands out for its uniqueness in structure and tuning, which it is a challenge for the violinist who performs as a soloist. Lina Tur Bonet, which has positioned itself among the elite of performers of his generation, It will be accompanied by Alchemy Music, one of the groups most prestigious international early music, founded and directed by herself. The cycle Delibes + Antigua It is conpleta concert Il Giardino Armonico and soprano Anna Prohaska, featuring works inspired by the figures of Dido and Cleopatra (12 from December); and the Ensemble Baroque OSCyL with Il Giardino Armonico members, which will include the repertoire some of the most outstanding baroque concerts (17 from December).

'Sonatas del Rosario', by Heinrich Ignaz Biber, will star startup cycle Delibes + Antigua, programmed into the Centro Cultural Miguel Delibes by the Ministry of Culture and Tourism. Violinist Lina Tur Ibizan origin Bonet and Musica Alchemica prestigious group will be responsible for interpreting the full in two concerts, which will take place on Wednesday and Thursday, days 2 Y 3 from December, to 20.00 hours, in the Chamber Hall of the CCMD. tickets, a 15 euros, They can be purchased at the box offices of CCMD, in time 18.00 a 21.00 hours, Monday to Friday; at the Center of Tourist Resources Acera de Recoletos, from 09.30 a 13.30 hours, from Monday to Saturday; and the web of artistic space, further, those under 30 years can benefit from the 'Last Minute Tickets' to 5 euros, available at the box office from CCMD 15 minutes before the start.

Sonatas stand out for their uniqueness in structure and also in regards to tuning, assuming a challenge for the soloist violinist. Total, son 16 pieces, very revolutionary for its time (They were composed around 1676). Religious theme, sonatas are currently the most recognized works of German composer Heinrich Ignaz Biber (1644-1704). But nevertheless, They were not discovered until 1889 and published in 1905. They are also known as "Mystery Sonatas' or 'Sonatas Bíblicas'. They are divided into three parts, each of which includes five sonatas: 'The Five Joyful Mysteries', addressing the annunciation and birth and childhood of Jesus; 'The five sorrowful mysteries', focusing on several episodes of the Passion; and 'The five glorious mysteries', They are dealing with the resurrection and ascension of Christ. These 15 parts adds more, one for violin representing the perfect finishing touch to a composition in which predominantly homophonic texture against polifónica. The concert Wednesday, CCMD audiences will enjoy the first part and the first three sonatas of the second section, while the remaining two and the last part will star concert Thursday.

Lina Tur Bonet has positioned itself among the elite musicians of his generation. Violinist versatile and highly demanded throughout Europe for top-level groupings, It includes an extensive repertoire rooted in the origins of the violin until our days, a repertoire that shines both as a soloist and with orchestras. It is an enthusiast of the work of Bach and recover the lesser known works of the most famous authors. This time, actuará junto a Music Alchemica, early music group she founded and directs today. He started this group with the aim of interpreting music of all time, but it was a project that transcended the field of music to address multidisciplinary artistic proposals, teaching and research. A) Yes, They have participated in numerous performances which have combined music, audiovisuals, dance, theater and other artistic disciplines. Together, violinist and music performed in Vienna Alchemica the integral of 'The Rosary Sonatas' in a single day.

The Delibes + Antigua, focused this season on a repertoire 100% baroque, will feature two concerts, which will also take place in December in the Chamber Hall of the CCMD, to 20.00 hours. First, Saturday 12, cargo run to Il Giardino Armonico, CCMD group residence, and soprano Anna Prohaska. Under the baton of Giovanni Antonini, They will perform several works inspired by the figures of Dido and Cleopatra. the proposal will close the Ensemble Baroque Castile and León Symphony Orchestra, OSCyL, junto a miembros de Il Giardino Armonico. It will be the day 17, Thursday, and the concert repertoire I make up some of the great concerts of the Baroque period. tickets, a 25 Y 15 euros, respectively, They can be purchased at the same outlets aforementioned. The 'Last Minute Tickets' will also be available for these two performances. further, the CCMD available to the public a credit for the full cycle 56 euros.


XVII Music Festival of Ubeda and Baeza
the Retreat J. Obregon, which takes its name from a famous Boccherini quintet, In a short time, it has established itself as an unavoidable reference in the panorama of early music thanks to its musical quality and the originality of its proposals.. and not by chance, many of its programs incorporate pieces by the Italian master and his compatriot Brunetti. In addition to the set of variations on Ritirata itself, they present us in absolute preview one of the ambitious quartets of Brunetti, accompanied by two Spanish quintets for guitar and strings by Boccherini.

International University of Andalusia
Headquarters Antonio Machado
Friday 5 from December, 21.00h.

Italians at court

As a natural complement to the previous concert, this show focuses on the string quartet's immediate predecessor, trio for two violins and bass, genre to which Brunetti and Boccherini (along with other Spanish composers such as José Castel, Jose Herrando or Juan Oliver) made notable contributions. This time, the participation of La Ritirata in trio format has the outstanding presence of the Austrian violinist of Japanese origin Hiro Kurosaki, one of the most in-demand artists in the field of historically informed performance, and Lina Tur Bonet, one of our most outstanding baroque violinists.

Hiro Kurosaki, fiddle
Lina Tur Bonen, Fiddle
Josetxu Obregoin, cello
Santiago Hospital Auditorium
Úbeda, Jaén
Saturday 6 from December, 12.30h.

Academy of Pleasure

Although less remembered than other musical events, in 2014 the four hundredth anniversary of the birth of Juan Hidalgo is also commemorated, one of the essential names of the Hispanic Baroque. Chapel Royal Harpist, Calderón's collaborator in the first Spanish zarzuelas and operas and author of an important corpus of chamber songs (the human tones), Hidalgo well represents a time of crucial cultural and political transformations that Fahmi Alqhai and his renowned Accademia del Piacere will recreate in a reconstruction that will be as faithful to the time as it is creative in its modernity..

Fahmi Alqhai, viol and direction
Juan Sancho, you have
San Francisco Ruins Auditorium
Baeza, Jaén
Saturday 6 from December, 20.30h.

Christian Zacharias

Christian Zacharias, Indian-born German pianist (Jamshedpur, 1950) he is not only one of the most celebrated and international piano players of his generation, but also an appreciated conductor. Among his extensive discography as a soloist, he has left us reference versions of various authors, entre ellos Domenico Scarlatti. In this program, Zacharias revisits the Neapolitan and confronts him with Soler, both composers who found in the keyboard the best expression of a high and refined artistic sensibility that with Zacharias is in the best hands.

Christian Zacharias, piano
Santiago Hospital Auditorium
Úbeda, Jaén
Sunday 7 from December, 20.30h.