ÚBEDA Y BAEZA / Key music for a double morning
Baeza. Church of Santa María del Alcázar and San Andrés. 8-XII-2020. Joan Boronat, organ. Works by Bach, Byrd, Kerll, Kuhnau and Poglietti. • Úbeda. Auditorium of the Hospital de Santiago. Patricia García Gil, Fortepiano. Works by Pedro Albéniz, Beethoven and Marianne von Martinez.
For its penultimate day, the FEMAUB has organized two key music recitals of great interest due to their orientation, in the first case, dedicated under the title Lights, organ… action! with descriptive baroque music, and in the second to make a small tribute to Beethoven on the 250th anniversary of his birth, with a program entitled Beethoven, the Spaniard.
The harpsichordist and organist from Alicante Joan Boronat, who had already performed the harpsichord the day before with the group La Guirlande, chose a program that began with a Capriccio on the cuckoo by Kerll in which there is little elaboration on the descending interval of the cuckoo song, but which was pleasantly surprising due to the different registers used. In the same imitative line, he continued with a Canzona by Alessandro Poglietti that simulated the crowing of the rooster and the crowing of the hen in an ingenious way, producing the consequent grace that, due to its better ornamentation, made one imagine the technical virtues of the author, a brilliant organist, believed to be of Tuscan origin, who acquired a great prestige in Vienna during the second half of the 18th century.
The three works that completed the program are more focused on the description of situations, actions and emotions than on pure imitation, with a musical language whose descriptive reference was more indeterminate, so the interpreter announced the name of each passage out loud. , a fact that somehow helped to understand the message of the work that was more complicated in applying meaning to it, such as the caprice about The departure of the beloved brother BWV 992 of a young Bach, only nineteen years old, who pointed out the greatness of his musical art with superb emotional capacity, justifying the filmic analogy of the title given to the recital.
The descriptive intention of events and actions was reserved, after the first ornithological examples, fundamentally and due to its almost graphic power, to the very valuable sonata of Kunhau, Bach’s predecessor as cantor of the Church of Saint Thomas of Leipzig, referring to the story biblical Fight between David and Goliath which he composed in that city in 1700, and at Battle written in 1591 by the British William Byrd with which Joan Boronat reached the maximum splendor, finished off with a Gallarda of victory splendidly performed. This first matinee thus culminated in one of the most witty and best performed organ concerts in the history of the Festival, and in which it was possible to enjoy the excellence of this 18th century organ, the best preserved in the province of Jaén , which is like saying one of the most outstanding in Andalusia.
The second appointment was occupied by Patricia García Gil, a fortepianist endowed with great musical sense in stylistic translation and appreciable fluency in technical ability. His speech revolved around the figure of Beethoven, of whom he played the famous sonatas Pathetic Y Aurora, also known by the surname of its dedicate, “Waldstein”, works that were accompanied by a Sonata in E by Marianne von Martinez, a contemporary of the Bonn musician, and the Nocturno Isla de la Cascada de Aranjuez in C major by Pedro Albéniz y Basanta, son of the best known Riojan teacher, Mateo Albéniz, of whom he performed, as the first encore, his famous Sonata in D, with which he was able to compensate for inopportune lapses that appeared in Beethoven’s last Rondo, which somehow affected the desirable homogeneity of this page. Finally, he had the most splendid moment in his last encore with the Adagio e Cantabile de la Sonata No. 59 in E flat major Hob.XVI.49 by Joseph Haydn, transmitting that serene nobility without comparison that the music of the father of the classical symphony and quartet has from a subtle pulsation and cleanliness of articulation, which led the listener to have a sensation of captivating effect favored by the soft dynamics and particular timbre of the instrument.
(Photos: Jesús Delgado)
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