Barcelona

Renowned Catalan Director Jordi⁤ Savall Criticizes Spanish⁣ Government‘s Lack of Support for Musicians

Madrid – Jordi Savall, the internationally acclaimed conductor and viol⁢ player, has sharply⁣ criticized the Spanish ⁢government’s insufficient⁢ financial support for its musicians, contrasting it‌ with‍ the robust backing enjoyed ‍by institutions like‌ the Berlin philharmonic. ⁢In ‌a recent‍ interview, Savall lamented ‍the “total⁣ abandonment” ⁣by the Spanish ⁤government, ‍stating ‍that subsidies cover less ‍than 1% of expenses – a situation he deems “inconceivable” compared to ⁢the rest of⁣ Europe.

Savall, who moved to Switzerland in 1968 to further his⁤ studies, noted ‍the past scarcity ​of Spanish musicians in leading European‌ ensembles, a situation now improving with four Spanish string players ‍in the Berlin philharmonic. He passionately⁣ asserted⁢ that Spain possesses ⁣a ⁣rich musical heritage, citing the influence evident in works like Cervantes’ Don Quixote and ⁢the depth⁤ of traditions including Andalusian, Sephardic, and Mozarabic ⁢repertoire, the polyphony ‌of Las Huelgas, and the legacies⁢ of composers like Falla, Granados, and Albéniz, alongside performers such as Casals, Sarasate,⁤ and Victoria de los Ángeles.

The director‌ also⁤ praised contemporary‍ artist Rosalía, describing⁢ her⁤ latest album as “splendid” and noting ‍her sophisticated musical training, evidenced by her incorporation⁣ of elements of the Italian baroque style, specifically stubborn, similar‍ to the Beatles’ approach‍ to arrangement. Though, savall’s concerns extend beyond‍ recognition of talent to the practical realities of sustaining a⁤ musical‌ career in⁣ Spain.

Savall previously rejected the‌ National Music ‌Award in 2014‌ due to‍ disagreements with the cultural policies of​ then-Minister José Ignacio Wert. He revealed a recent ‍meeting with Prime Minister Pedro Sánchez three years ago to advocate for greater protection and promotion of spanish musical heritage, but has yet to receive⁣ a response. He‌ also expressed disappointment at his absence from the Teatro Real’s programming since⁣ his production of Orpheus in 1999, questioning if it stemmed from “simple ⁣disinterest.”

Savall emphasized the crucial role of the⁣ Generalitat, the French ‌Ministry of Culture, ⁣and the European Commission⁢ in sustaining⁤ his ensembles – La capella Reial, Hespèrion XXI, and Le Concert des Nations – stating⁤ they ‌”would ​not⁢ exist” without their support. He‍ concluded by⁢ expressing his envy of the Berlin Philharmonic’s national support,‍ which ensures the preservation of its legacy for future generations.