LA QUINTA ESTACIÓN

 

LA QUINTA ESTACIÓN

[The Fifth Season]

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Dmitri Shostakovich (1906-1975). 5 pieces for two violins and piano
Koh Gabriel Kameda violin / Jesus Reina violin / Oscar Martin piano

Georg Friederich Händel (1685-1759). ‘Allor che sorge’, from Rodrigo, HWV 5, for tenor and piano
                                                                  ‘Lo già t’amai’, from Rodelinda, HWV 19, for tenor and piano
Nils Georg Nilsen tenor / Oscar Martin piano

Dmitri Shostakovich (1906-1975). Two pieces for string octet, Op.11
Koh Gabriel Kameda violin / Erzhan Kulibaev violin / Laura Romero Alba violin / * Irene Ortega violin /
Jose Velez viola / Rumen Cvetkov viola / Tilman Mahrenholz cello / Gabriel Ureña cello

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WORLD PREMIERE 
Jesús Reina (1986-). Piece for cornet, string quartet and percussion
Dani de Baza cornet / Jesus Reina violin / Laura Romero Alba violin / Rumen Cvetkov viola / Gabriel Ureña cello /
Fernando Arias percussion

Astor Piazzolla (1921- 1992). ‘Summer’, ‘Winter’ and ‘Spring’ from The four seasons of Buenos Aires, for solo violin and orchestra
Koh Gabriel Kameda violin / Jesús Reina violin / Anna Margrethe Nilsen violin /  Erzhan Kulibaev violin / * Irene Ortega violin /
Laura Romero Alba violin / * Marina Lopez violin / Rumen Cvetkov viola / Jose Velez viola / Tilman Mahrenholz cello /
Juan Ignacio Emme cello / Estefania Gomez Fernandez double bass
* invited students from the Galamian International Academy

1.15 h (w/out intermission)
www.malagaclasica.com


Program (PDF es / en)
(Presentation, Málaga Clásica Talents, bios)

The closing concert of Málaga Clásica unites the characteristics that define the theme of the festival’s eighth edition: “now”. In this walk through the musical landscape one can find early untypical works by Shostakovich, full of melody and simplicity, like his pieces for two violins and piano. One also encounters in the octet, a self-labelled modern Shostakovich, with his feet planted in the present but looking to the future. In between these two works we will hear a completely different aesthetic in Handel’s music: a master of the Baroque, outstanding in his usage of homophony, opera seria and oratorio. These styles and their variety, together with traditional music, present in Piazzolla - and whose “seasons” serve as a reinterpretation of the seasons themselves (after Vivaldi’s classic) - are inspirations which lay in Jesus Reina’s music, who intertwines the harmonic structures of the Baroque period with modern counterpunctal lines and traditional rhythms, adding to the chamber ensemble an instrument of great tradition in Andalucia and the rest of Spain, the cornet.

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