brilliant idea of Juan March Foundation that of dedicating a cycle to scores that, for various reasons, have not achieved due recognition. The justification for this project lies in the words of the person in charge of the institution’s musical programming, Miguel Ángel Marín: “Beyond spiritual enjoyment, this series of concerts aspires to provoke reflection among listeners on the processes of canonization and the criteria of selection, sometimes random, that make up a truly masterpiece. Paradoxically, the fortune of a creation in posterity does not respond exclusively to its aesthetic merit”.
There are three scheduled sessions. On the first date (February 23), starring the National Choirwith Miguel Ángel García Cañamero in the lead, includes a work that, if not a masterpiece, is close to it: the Missa Season in Lent. MH 639 by Michael Haydn, always obscured by his brother Franz Joseph. He was a magnificent creator of sacred music. As, to a lesser extent, was Mendelssohn’s sister, Fanny, whose Cantata Hiob. It is clear that Sirensthird of the three Nocturnal Debussy’s is a magnificent work, as suggestive as it is difficult to sing. Especially subtle and delicate is the Salmo XXIV of the ill-fated Lili Boulanger. The session is completed with Johann Ludwig Bach (The Meiningen Bach), Bortniansky and Parry.
In the second concert (March 2) you can listen to the English lyrical soprano Carolyn Sampson, accompanied by pianist Joseph Middleton. The program opens with four splendid songs by Mozart, the famous The violet between them. Then two are announced Songs popular songs by Brahms, always so inspired, then five folk songs from Britten’s vast catalogue, four of the exquisite Amateur Madrigals by Rodrigo, followed by four samples by the good-humoured Satie (the first an arrangement of a Gymnopedics) and three Melodies on poems by Verlaine de Poldowski. The recital closes with Three Façade Settings of Walton.
The third session (March 9) leaves us a bit perplexed because it is dedicated to fragments, to individual movements, as a compilation of tips in arrangement for string quartet, in this case the famous Brodsky, a very solid team. The consideration of a masterpiece is somewhat diluted, however much the varied music chosen has its value, extended, depending on the case, to its adaptations.
Thus they appear Scherzo in D major de Borodin, The march of The love of the three oranges de Prokofiev, Solace de Joplin, Spanish dances of Sarasate, Poem the British, Five pieces for two violins and piano de Shostakovich, The bullfighter’s prayer of Turin, the Adagio from the Moonlight Sonata of Beethoven, a Prelude and one of the two Arabescas of Debussy, the famous After a dream of Fauré and, as a culmination of the popular, the saber dance de Khachaturian.
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