“For less than the cost of a gin and tonic you can go to a chamber music concert by a great performer.” Music manager Antonio Moral sums up with these words the Chamber Cycle of which he is artistic director and which has just opened its fourth season at the Fernando de Rojas Theater in Madrid. It is a proposal that seeks to bring this type of music to all audiences. Key to this has been its commitment to affordable prices. Those under 30 can buy tickets that range between 7 and 15 euros, while for adults they cost between 10 and 25 euros. “The music has to be accessible and of quality,” the Cuenca man maintains before this medium.
The Royal Symphony Orchestra puts its youth ticket on sale with significant discounts
The cycle consists of nine concerts that are held on a Sunday of each month at 7:00 p.m. in the aforementioned venue, located next to the Círculo de Bellas Artes, organizer of the activity. The repertoires of the musicians have been one of the key points when selecting them for the program. “We try not to be complicated and to be accepted by a large majority of the public, which, for example, is more reluctant to the most current sounds”, explains Moral. Among the favorite names of the audience he mentions Schubert, Mozart and Beethoven.
“Music doesn’t have to be serious,” he defends, “it can be fun and very enjoyable. Many people do not approach proposals like ours due to lack of information. They think that a concert of these characteristics is not going to be for them, but when it comes they change the chip”. The manager is aware that “many people find it hard to get into classical music, especially young people, because they think it’s for ‘floats’. And no, music is about sensitivity regardless of how old you are.”
“If you have it, you can have a good time watching a dance show, marveling at the movement of the human body; or contemplating a painting in an exhibition at the Prado Museum. The same happens with music, cinema and theater. Moral points out that art has an inherent characteristic that makes this possible: “Its hooking possibility”. Regarding the particular style of what is heard in the recitals of the series, he describes that “chamber music does not have the spectacular nature of the symphony orchestra or is not as fashionable as music written for films. She has that other point that she is very special and focused.”
The protagonists of the cycle
The Diotima Quartet was in charge of opening the cycle on October 15. The group was founded in 1996 by graduates of the Paris Superior Conservatory, and they are characterized by providing a new look at the great works of the 19th and 20th centuries by composers such as Beethoven, Schubert, Debussy, Ravel and Bartók.
The next recital will take place on November 20 and will feature the Russian pianist Yulianna Avdeeva as the protagonist. In 2010, when she was 25 years old, she won the first prize of the Chopin Competition, one of the most prestigious in the world within her profession. Since then she has developed her career interpreting themes composed mainly by Bach and the great classics of the 20th century. Chopin is one of the great pillars of his performances, which is why he is going to review songs by the musician such as Scherzo in C sharp minor and the Polonaise-fantasy.
The Muscovite will be followed by Hopkinson Smith (January 15), creator of one of the most important schools for young people interested in historical plucked string instruments. His concert will focus on the music of the Italian lutenists Joan Ambrosio Dalza and Francesco Spinacino, who knew how to take advantage of the invention of musical printing in Venice in the year 1500. His show promises “dance, fantasy and Mediterranean-style improvisations ”.
The next step will be to travel to Germany with the Schumann quartet (February 26), made up of brothers Mark, Erik and Ken Schumann; and violinist Liisa Randalu. In addition, they will have the soprano Katharina Konradi. In their concert they will offer their own version of two famous German 19th-century couples: the brothers Fanny and Felix Mendelssohn and the married couple Robert and Clara Schumann. The group will be succeeded on March 12 by the sentimental and artistic couple formed by the Venezuelan Edith Peña and the Russian Alexei Volodin. His repertoire will be dedicated to Schubert, with works such as the Fantasia in F minor written to be played on the piano for four hands.
Another novelty of the season is hosting its first co-production with the Teatro Real: the play anti formalist (March 26th). A satirical cantata for four voices of bass, choir and piano that, although it was composed in 1948 by Shostakovich, its premiere did not come until 1989 because its author was convicted of writing music contrary to the interests of the people. The Choir of the Teatro Real, the bassist Alexander Teliga and the pianist Judith Jáuregui will be in charge of interpreting it. According to moral, the show has “a lot going on”.
On April 16 it will be the turn of the Trío Arbós (and friends), one of the most original proposals and which is part of the program for the third consecutive year. “I like it a lot”, recognizes the musical manager about this group that puts live music to silent movies. In this case, returning to original scores by Stephen Prutsman, they will accompany three shorts. The first will be the experimental movie cameraman’s revenge (1910) by the Russian Wladyslaw Starewicz and the second Suspense (1913), written, starring and co-directed by one of the pioneers of the film industry, Lois Weber. The last one will be Leo McCarey’s piece big as a moose (1926).
For the artistic director of the cycle, this is one of the most special proposals because it allows “recovering a tradition” that is hardly used anymore. For more INRIis a program linked to the Fernando de Rojas Theater where the cycle is held, since years after opening its doors in 1986, “it hosted screenings of silent films accompanied by the symphony orchestra in the pit”.
The Moldovan violinist Alexandra Conunova and the German pianist Christian Zacharias will close the Círculo de Cámara on the eve of the arrival of summer, on June 4. Each one will play a Bach work separately and they will join together to interpret three Mozart sonatas, with KV 454 being the closing one. The artistic director of the program defends that “culture is a vehicle to have a social relationship”, as an invitation to all kinds of audiences to be encouraged to approach the different concerts, with the intention of completing the plan with “the later straws” .