Los guitarreros en Madrid en el siglo XX In collaborazione con l’Ing. Massimo Raccosta -Raccosta Collection- Cremona Musica 27-29 Settembre 2019 This exhibition, of a highly historic and cultural impact, witnesses the unique
Los guitarreros en Madrid en el siglo XX
In collaborazione con l’Ing. Massimo Raccosta -Raccosta Collection-
Cremona Musica 27-29 Settembre 2019
This exhibition, of a highly historic and cultural impact, witnesses the unique expressive tension of the Madrid community, where the 20th century saw the merge of its social context and popular expression with the new and relevant building project conceived by Torres, with a more academic dimension, adding value to the instrument that most deeply embodies all these aspects. He produced a new instrument based on the true definition of “artwork”, when the human gesture, by means of a skillful technique, gathers and expresses a broad cultural dimension thus originating an art movement (such as in the case of Cubism and Expressionism in painting) where the educated and popular trends coexist.
The history of lutherie in Madrid in the 20th century originates from the disagreement of thought between the two Ramìrez brothers, which resulted in the creation of two different reference schools. The first and more traditionalist branch with José Ramìrez I continued the tradition belonging to Francisco Gonzàles, the most representative luthier of mid 19th century, who is considered as the link between the important Madrid tradition of the first 19th century and the increase in proportions which occurred in the second part of that century, reaching to the present time through four generations. In his workshop, in addition to his son José Ramirez II, Enrique Garcia and Julian Gómez Ramírez (just a namesake) were trained. Subsequently the latter settled in France where he imported a tradition that set the basis for the development of the modern guitar lutherie there. The second branch was more interested in the innovations brought about by Antonio De Torres, and remained active under the name of Manuel Ramìrez until his death (1916): Enrique Garcia followed this path and brought these innovations to Barcelona where he settled, becoming the forefather of the Catalan lutherie school. This school continued in the individual workshops of those masters who embody the greatest lutherie of the last century in Madrid to which this exhibition is devoted: Santos Hernández, Domingo Esteso, Modesto Borreguero and later on Marcelo Barbero and Arcangel Fernandez.
Thanks to the comprehension and implementation of the new and illuminated concepts of the Torres project, Manuel’s workshop produced the instrument Segovia played in his first twenty-five years of career. Only after Manuel’s death the real authorship of the instrument was revealed and attributed to Santos Hernàndez who at the time was the headmaster of the oficiales in the workshop.
In 1922 Santos made a guitar for the renowned flamenco guitarist Ramon Montoya, therefore defining a personal model for a flamenco concert guitar, the “flamenca negra”.
Santos Hernàndez is therefore nowadays considered a reference for the lutherie school of the 20th century in Madrid as he has been able to show the Madrid expressive spirit, developing two different projects: the classical and the flamenco models.
In collaborazione con Acoustic Guitar Village e Instituto Cervantes Milan
settembre 27 (Venerdi) - 29 (Domenica)
Acoustic Guitar Village, CremonaFiere
Piazza Zelioli Lanzini, 1 26100
Buy the ticket “A night in the museum with Paco Peña”, evento omaggio all’arte flamenca, dedicato alla figura di Ramon Montoya in collaborazione con Acoustic Guitar Village, Instituto Cervantes Milan
“A night in the museum with Paco Peña”, evento omaggio all’arte flamenca, dedicato alla figura di Ramon Montoya in collaborazione con Acoustic Guitar Village, Instituto Cervantes Milan and Ing. Massimo Raccosta -Raccosta Collection
Paco Peña embodies both authenticity and innovation in flamenco. As guitarist, composer, dramatist, producer and artistic mentor he has transformed perceptions of this archetypal Spanish art form.
Born in the Andalucian city of Córdoba, Paco Peña began learning guitar from his brother at the age of six and made his first professional appearance at the age of 12. In the late 1960s he left Spain for London, where his recitals of flamenco music captured the public imagination.
In 1995 The New York Times declared that: “MrPeña is a virtuoso, capable of dazzling an audience beyond the frets of mortal man. He combines rapid-fire flourishes with a colourist’s sense of shading; this listener cannot recall hearing any guitarist with a more assured mastery of his instrument.” It should come as no surprise that readers of America’s Guitar magazine judged Paco Peña as best flamenco guitarist of the year for five consecutive years.
Since 1970 Paco Peña has performed regularly with his own hand-picked company of dancers, guitarists and singers in a succession of groundbreaking shows. The Paco Peña Flamenco Dance Company has taken flamenco into the realm of music-theatre, with regular seasons in London (Royal Festival Hall, Sadler’s Wells Theatre and Barbican) and festival appearances in Edinburgh, Adelaide, Amsterdam, Athens, Istanbul, Singapore and Hong Kong etc.
In 1997 Paco Peña was proud to be named Oficialde la Cruz de la Orden del Mérito Civil, and in May of 2012, he was thrilled to be awarded the Gold Medal in the Arts by the John F. Kennedy Center for the Performing Arts in Washington – these honourswere both bestowed by King Juan Carlos of Spain.
(Sabato) 20:00 - 21:00
Museo Civico Ala - Cremona
Via Ugolani Dati, 4, 26100 Cremona CR, Italia
A unique exhibition of the most representative instrument of David ‘Jose’ Rubio: Britain’s Most Illustrious Musical Instrument-maker. The English luthier David Rubio embodies the link between flamenco art and Julian Bream.
A unique exhibition of the most representative instrument of David ‘Jose’ Rubio: Britain’s Most Illustrious Musical Instrument-maker.
The English luthier David Rubio embodies the link between flamenco art and Julian Bream. He devoted himself to lutherie in the first ‘60s after a long experience as a flamenco guitarist that earned him the nickname “Rubio” which he then chose as his last name. He was inspired for this choice by the historical Madrid workshop of Faustino Condé where Rubio used to perform his daily playing practice, and which belonged to the most renowned Domingo Esteso.
Travelling to the US for his activity as a guitarist, he settled in New York where he started his new career as a guitar maker with a copy of the Esteso flamenco guitar he used to play.
A meeting with Julian Bream was decisive for his future: Bream actually asked him to make instruments following the style of Robert Bouchet, whose guitars the virtuoso loved. However, the real building reference point for David Rubio was Francisco Simplicio whose lutherie inspired his best instruments, which Bream played for years. The maestro indeed recorded the Nocturnal by Benjamin Britten with a 1965 Rubio, in a performance that became the symbol of the evolution of the guitar language.
At the end of the ‘60s Rubio went back to his native England where he also devoted himself to the production of ancient instruments (luthe, bass viol, baroque violin, harpsichord), and in the last part of his life the string quartet. In Cambridge, where he last established his workshop, he collaborated with the university to test particular treatments in order to reproduce the sound of ancient instruments, especially the violin.
The aim of this festival is to deal personally with the last period of the author’s activity. His collaboration with the Italian guitarist Stefano Grondona and the Scottish guitarist Paul Galbraith – welcome guests in this edition – nurtured anew Rubio’s interest in the production of guitars and seemingly defined a second era for the luthier, just as it happened to Antonio De Torres.
Buy the tickets Johann Jakob Froberger (1616 - 1667) Tombeau pour Monsieur de Blancheroche Domenico Scarlatti (1687 - 1757) Sonata in d minor K213 Toru Takemitsu (1930 - 1996) All in twilight (four pieces
Johann Jakob Froberger (1616 – 1667)
Tombeau pour Monsieur de Blancheroche
Domenico Scarlatti (1687 – 1757)
Sonata in d minor K213
Toru Takemitsu (1930 – 1996)
All in twilight (four pieces for guitar)
Enrique Granados (1867 – 1916)
La Maja de Goya
Danza española no. 5
Hans Werner Henze (1926 – 2012)
Benjamin Britten (1913 – 1976)
Nocturnal after John Dowland, op. 70
I.Musingly (Meditativo) II.Very agitated (Molto agitato) III.Restless (Inquieto) IV.Uneasy (Ansioso) V.March-like (Quasi una Marcia) VI.Dreaming (Sognante) VII.Gently rocking (Cullante)
VIII.Passacaglia (measured) (misurato ) IX.Slow and quiet (Molto tranquillo)
Isaac Albéniz (1860 – 1909)
Oriental – Torre bermeja
Dedizione assoluta e anticonvenzionale alla musica: questa è la cifra distintiva dell’arte di Stefano Grondona, preclara fin dai suoi esordi. Nato a Genova nel 1958, già allievo di Sergio Notaro e poi di Oscar Ghiglia, si è imposto giovanissimo come vincitore dei più prestigiosi concorsi internazionali (Parma, Alessandria, Gargnano, Palma de Mallorca, Città del Messico, Leed’s Castle, Monaco di Baviera). Andrés Segovia, in un’intervista del 1985, lo menzionò come uno dei suoi quattro allievi più significativi. John Williams, Oscar Ghiglia ed Alirio Díaz, artisti allora già nel pieno della loro maturità artistica, erano gli altri nominati dal Maestro. Grondona, che ha celebrato nel gennaio del 2019 il suo quarantacinquesimo anno di carriera concertistica, ha contribuito con la sua ricerca interpretativa e storica a un’innovativa visione personalissima e insieme archetipica della chitarra. Le opere discografiche di Grondona costituiscono un ineludibile punto di riferimento per il pubblico e la critica, ed hanno meritato premi di notevole prestigio: il CD La Guitarra de Torresha ricevuto nel 1999 la Chitarra d’oro per il Migliore CD dell’annoal Convegno Nazionale di Alessandria, ed è stato segnalato tra i migliori CD dell’anno dalla rivista tedesca Klassik Heute; Lo Cant dels Aucellsha anche ricevuto nel 2002 la Chitarra d’oro; Respuestaha ottenuto nel 2007 il prestigioso Editor’s Choicedella rivista inglese Gramophone, mentre nel 2008 lo stesso CD è stato incluso da La Vanguardia nella collezione di dischi di musica catalana per la celebrazione dei cento anni del Palau de la Música di Barcellona; Grondona plays Bachè stato premiato con cinque stelle dalle riviste Musica, Amadeus e Classic Voice. Il cd Nocturnal, del 2013, anche premiato delle cinque stelle di Musica, omaggia il compimento degli 80 anni del grande virtuoso inglese Julian Bream con opere composte per quest’ultimo e al tempo stesso celebra il centenario della nascita del compositore B.Britten e i cinquanta anni dalla composizione del suo Nocturnal after John Dowland op. 70.
Le sue dieci tournée in Giappone sono state accolte dal mondo musicale nipponico con un fervore pari a quello ricevuto a suo tempo dallo stesso Segovia e da Julian Bream. Dal 2004 a tutt’oggi esiste in Giappone un club di fans di Stefano Grondona. Da trent’anni titolare di cattedra presso il Conservatorio di Vicenza, Grondona ha saputo rendere la sua classe un riconosciuto centro pulsante di meditazione strumentale. Tra le innumerevoli master class tenute in tutto il mondo quelle di Ponte in Valtellina e di Riva del Garda, datate tra il 1987 e il 2001, si ricordano per il determinante contributo alla formazione di una nuova generazione di chitarristi; a Ponte in Valtellina ebbero luogo svariati eventi diretti da Grondona come le due edizioni speciali di Ponte di Note(nel 2002, dedicata a David Rubio e nel 2005, La Guitarra Española), e la stesura del libro La Chitarra di Liuteria-Masterpieces of Guitar Making(2001), scritto in collaborazione con il liutaio Luca Waldner. Per lo speciale rapporto che ha saputo instaurare con gli strumenti del passato, Grondona è stato invitato a tenere recitals sulle chitarre Torres che si trovano al Museu de la Música (Barcellona) e al Palacio de la Guitarra (Ibaraki, Giappone), e a partecipare a concerti in memoria dei grandi liutai, quali Antonio de Torres (Almería 2006, Córdoba 2007), Robert Bouchet (Tokyo 1998) e David Rubio (Cambridge 2001, 2004), con il quale Grondona aveva collaborato tra il 1992 ed il 1999.
La prestigiosa rivista Amadeusha dedicato a Grondona il numero di Agosto 2016 pubblicando il suo più recente CD dedicato a Fernando Sor, inciso con una chitarra Lacote del 1839.
A seguito della sua attività volta alla ricerca e diffusione della cultura e musica catalana, nel 2005 Grondona ha ricevuto il prestigioso Premio I.P.E.C.C.(Institut de Projecció Exterior de la Cultura Catalana).
Il 27 Aprile 2011 Stefano Grondona è stato insignito della più alta onorificenza culturale catalana, la Creu de Sant Jordi, conferitagli dalla Generalitat de Catalunya.
Il 2 giugno 2012 gli è stata conferita l’onorificenza di Cavaliere dell’Ordine del Merito della Repubblica Italiana.
Il 24 novembre 2013 il Comune di Ponte in Valtellina ha assegnato a Stefano Grondona il Premio Giuseppe Piazzi per l’Arte.
Il 9 dicembre 2014 gli è stata conferita l’onorificenza di Commendatore dell’Ordine del Merito della Repubblica Italiana.
Il 22 Settembre 2018 Stefano Grondona riceve la Chitarra d’oro ‘Una vita per la chitarra’, assegnatagli dal Convegno Internazionale di Alessandria
Saturday 9 November 2019 Corde d’autunno Guitar Symposium - 1st day 9:30 Lecturer: Lucio Carbone Title: presentation of the historical exhibition dedicated to Rubio 9:45 Lecturer: Marco Ramelli Title: New perspective on Roberto Gerhard’s
Saturday 9 November 2019
Corde d’autunno Guitar Symposium – 1st day
9:30 Lecturer: Lucio Carbone
Title: presentation of the historical exhibition dedicated to Rubio
9:45 Lecturer: Marco Ramelli
Title: New perspective on Roberto Gerhard’s guitar music
The lecture will focus on the new discoveries about the genesis of Fantasia (1957)
and on a new arrangement of For whom the bell toll. It will be discussed how
Gerhard’s own political view is embedded in his music.
10:15 Lecturer: Gary Southwell
Title: Julian Bream and the Hauser Guitar
Gary Southwell talks about making guitars for Julian Bream.
Recalling the 15 years they spent collaborating closely on the study and reconstruction of the guitars of Herman Hauser 1.
11:15 coffee break
11:45 Lecturer: Stefano Grondona & Paul Galbraith
Title: The collaboration with David Rubio:
the experience of two great guitarists
Sunday 10 November 2019
Corde d’autunno Guitar Symposium – 2nd day
9:30 Lecturer: Pietro Locatto
Title: Presentation of the new album:
Moreno Torroba – Sonata Fantasia and the early guitar works
10:00 Lecturer: Gabriele Lodi
Title: TouchTheSound – Rubio
Live performance on the guitar in exhibiton
10:30 Lecturer: James Westbrook
Title: David ‘Jose’ Rubio (1934–2000)
A Personal insight into Britain’s Most Illustrious Musical Instrument Maker.
11:15 Coffee Break
11:30 Lecture-Recital: Fabio Zanon
Title: Bream’s repertoire
Music by: Berkeley, Eastwood and Martin
Tickets for the symposium: 15 euro
In collaboration with:
TU Dublin Conservatoire & Dublin Guitar Symposium
Buy the tickets before the concert official presentation of the program of Roma Expo Guitars Program Fernando Sor (1778-1839) Introduction and Variations on a theme by Mozart op. 9 Laura Snowden (b. 1989) Anpao Heitor Villa
before the concert official presentation of the program of Roma Expo Guitars
Fernando Sor (1778-1839) Introduction and Variations on a theme by Mozart op. 9
Laura Snowden (b. 1989) Anpao
Heitor Villa Lobos (1887 -1959) Five Preludes
Laura Snowden (b.1989) L’étoile et la Rose
Agustín Barrios (1885-1944) Vals op 8 no. 4
Hailed a ‘string sensation’ by BBC Music Magazine, British-French guitarist and composer Laura Snowden is acclaimed for her ‘poise and intensity’ (Guardian) and playing of ‘extraordinary depth’ (Strings, Classical Music Magazine). The first guitarist to graduate from the Yehudi Menuhin School, made possible by the Rolling Stones, she was invited by guitarist Julian Bream to premiere his latest commissions at Wigmore Hall in 2015 and 2017. Laura’s international appearances have since built rapidly, with festival debuts across Europe, China and the US, as well as concerto debuts with Norrköping Symphony Orchestra and Münchener Kammerorchester, and a recording of Lisa Streich’s guitar concerto Augenlider with the Deutsches Symphonie Orchester.
Described by Classical Guitar Magazine as ‘linking guitar’s past, present and future’, Laura’s eclectic musical output has ranged from producing arrangements for Noah and the Whale frontman Charlie Fink to giving dozens of world premieres by composers including Julian Anderson, Errollyn Wallen and Olli Mustonen. She has also collaborated closely with her folk band Tir Eolas, appearing with them at Shakespeare’s Globe at the invitation of guitarist John Williams. As a composer, Laura’s music has been performed at Royal Albert Hall, Wigmore Hall and Sadlers Wells, commissioned by the Park Lane Group, Birmingham Symphony Hall and International Guitar Foundation, and broadcast on BBC Radio 3, BBC Radio Scotland and Hong Kong Radio 4.
Laura currently teaches at the Yehudi Menuhin School and has given classes alongside performances at venues including the Royal College of Music, the Royal Welsh College of Music and Drama, Birmingham Conservatoire, Brussels Conservatoire, Uppsala International Guitar Festival, Altamira Hong Kong International Guitar Symposium, the Volterra Project in Italy and the Guitar and Lute Festival in Sweden.
Laura’s principal teachers have been Julian Bream, Richard Wright (Royal College of Music and Yehudi Menuhin School) and Gary Ryan (Royal College of Music). Her guitar was made by Christopher Dean.
In collaboration with Rome Expo Guitars
Buy the tickets Lennox Berkeley (1903-1989) Sonatina, op. 52 Tom Eastwood (1922-1999) Ballade-Phantasy (1968) Frank Martin (1890-1974) Quatre pièces brèves for guitar chitarra di David Rubio Il lecture-recital é parte del ‘Corde d’Autunno Guitar Symposium’ Bio: Fabio Zanon is
Lennox Berkeley (1903-1989)
Sonatina, op. 52
Tom Eastwood (1922-1999)
Frank Martin (1890-1974)
Quatre pièces brèves for guitar
chitarra di David Rubio
Il lecture-recital é parte del ‘Corde d’Autunno Guitar Symposium’
Fabio Zanon is one of the pre-eminent guitarists of today. As a solo and chamber player, author, conductor, teacher and broadcaster, he has sought to expand the perception of the guitar in the concert scene. His recording of Francis Hime’s Guitar Concerto, recorded live with the São Paulo Symphony conducted by Alondra de la Parra, was nominated for the 2011 Latin Grammy as Best Classical Recording. He has recently recorded Rodrigo’s Concierto de Aranjuez with the same orchestra. His CD containing the complete guitar works by Villa-Lobos was awarded the Bravo Prize in Brazil as ‘Best Classical CD of 2010’; on that occasion he was also shortlisted as Artist of the Year. Born in Brazil in 1966, he started his musical studies in early age with his father, and completed his education at the São Paulo University and at the Royal Academy of Music in London, where he also studied conducting. His main teachers were Antonio Guedes, Henrique Pinto, Edelton Gloeden and Michael Lewin, and he also attended the Julian Bream master classes in London. He holds a Master of Music degree from the University of London. Although not greatly drawn to competitions, his career had a significant impulse after he won the first prize at both major international competitions, the GFA – Guitar Foundation of America Competition in St Louis and Tarrega Competition in Spain, within weeks of each other in 1996. Since then, Fabio Zanon has performed in some of the most prestigious halls of Europe, Asia, North and South America, including Royal Festival Hall and Wigmore Hall in London, Concertgebouw in Amsterdam, Les Invalides in Paris, Weill Hall at Carnegie Hall in New York, Philharmonie in St Petersburg, KKL in Lucerne, Tchaikovsky Hall in Moscow, Theatro Municipal in Rio de Janeiro, Amazonas Theatre in Manaus and Sala Verdi in Milan, to name but a few. An inspiring teacher, he has given master classes at most of the major conservatoires from Los Angeles to Singapore. In 2008 he was appointed a Visiting Professor at the Royal Academy of Music in London. He has performed more than 40 different works for guitar and orchestra as a soloist of prestigious groups such as the London Philharmonic, BBC Ulster Orchestra, Israel Chamber Orchestra and all the major orchestras of South America. His chamber music repertoire and partners range from the most traditional to the most adventurous. He has played with partners ranging from celebrated soprano Carole Farley to pop singer Ney Mattogrosso. In 2009 he released Yanomami, a CD for choir and guitar with Coro Cervantes, and in 2011 his third CD with flautist Marcelo Barboza, Mountain Songs. In 2009 he also published his first book, Villa-Lobos, to mark the 50th anniversary of the death of the great Brazilian composer. He has received many awards for his concerts and recordings, the most unexpected being the award as best concert performance of 2006 in Brazil for his debut as an operatic conductor in Michael Nyman’s The Man who Mistook his Wife for a Hat. Fabio Zanon has had an intense activity as a broadcaster, having conceived, written and narrated, for Radio Cultura FM in São Paulo, series such as The Art of the Guitar (also broadcast by Antena 1 in Portugal), The Spanish Guitar, Simple and Complex and The Brazilian Guitar. This last one has been hailed as a landmark in musical historiography in Brazil and has been adopted as teaching material at music schools. In 2013 Fabio Zanon was appointed Artistic and Educational Manager at the Campos do Jordão International Winter Festival, the largest and most traditional classical music festival in South America.
Buy the tickets Johann Sebastian Bach (1685, 1750) Prelude, Fugue, Allegro BWV 998 in Eb (trans.D) Robert Schumann (1810, 1856) Three pieces from op.68 Franz Joseph Haydn (1732, 1809) Sonata Hob.XVI #31 in E Moderato,
Johann Sebastian Bach (1685, 1750)
Prelude, Fugue, Allegro BWV 998 in Eb (trans.D)
Robert Schumann (1810, 1856)
Three pieces from op.68
Franz Joseph Haydn (1732, 1809)
Sonata Hob.XVI #31 in E
Moderato, Allegretto, Finale
Alexander Scriabin (1871- 1915)
Six preludes from Op.11/16
Isaac Albeniz (1860-1909)
Cataluna & Sevilla from Suite Espanola
chitarra: David Rubio
Paul Galbraith è internazionalmente riconosciuto come uno dei chitarristi più importanti del nostro tempo. Il suo approccio rivoluzionario alla chitarra, sua alleata nella profonda ricerca interpretativa, lo hanno reso una figura immediatamente riconoscibile nel mondo della musica classica. Paul suona una particolare chitarra a 8 corde che ha sviluppato nel 1993 insieme al leggendario liutaio inglese David Rubio. Progettata da Rubio dalla normale forma della chitarra moderna, mediante un radicale sistema asimmetrico di incordatura “Orpharion”, ne è uscito uno strumento di rinascita della famiglia dei liuti. È stata chiamata la “Brahms Guitar”, grazie alla sua ricchezza nella gamma sonora e il largo spettro della tessitura. Su questo strumento, Paul ha registrato una serie di album di grande successo, a cominciare con la musica di Brahms (l’op. 21/a, variazioni per pianoforte), continuando con le Sonate di Haydn, “Impressioni francesi” con musiche di Debussy e Ravel, un DVD recital (con il famoso Nocturnal di Britten) e le opere complete di Bach per violino solo (Sonate e Partite), che è stato nominato per un Grammy Award nel 1998. Alla domanda di un membro della stampa rivolta ad Andres Segovia dopo il concorso di Leeds nel 1981, il grande Maestro andaluso esclamò:
“Paul è magnifico! Sarà un grande artista!!!”.
Corso di Perfezionamento per docenti. Due giorni dedicati alla didatti per chitarra on la partecipazione di professori dei più importanti centri di formazione europei: Insegnanti principali: Giampaolo Bandini, Matteo
Corso di Perfezionamento per docenti.
Due giorni dedicati alla didatti per chitarra on la partecipazione di professori dei più importanti centri di formazione europei:
Insegnanti principali: Giampaolo Bandini, Matteo Mela, Lorenzo Micheli e Paolo Pegoraro.
Conferenze: da definire
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