Dos lieder Clara Schumann (1819-1896)
Dos lieder Heinrich von Herzogenberg (1843-1900)
Cinc lieder Miquel Capllonch (1861-1935)
Pensant amb tu (Lletra de Lluís Obrador Billón) ESTRENA Miquel Capllonch
De les “Seis rimas de Gustavo Adolfo Becquer” op. 3 Enrique Fernández Arbós (1863-1939)
Canción de la gitana de la sarsuela La chavala Ruperto Chapí (1851-1909)
Cançao do berço Alexander Rey Colaço (1854-1928) - Ernesto Halffter (1905-1989)
Nocturn op. 10 núm. 5 (Paul Verlaine) Miquel Capllonch
Beau soir Claude Debussy (1862-1918)
À Chloris Reynaldo Hahn (1874-1947)
Mon coeur s’ouvre à ta voix de l’òpera Sansón y Dalila Camille Saint-Saëns (1835-1921)
The town of Pollença, in the 58th edition of its Music Festival, wishes to pay homage to its illustrious romantic composer, Miquel Capllonch (Pollença, 1861-1935), closing with his music thecycle of concerts of the 2019 season. Although in the third concert of the cycle we were able to enjoy a sample of his work by the pianist Josep Colom, in this one we will enter into the reception of his lieder with the performance of mezzosoprano María José Montiel accompanied by the pianist Miquel Esterlich .
The lied, the German song of the nineteenth century, was created from the transformation of the song accompanied by Germanic tradition. It is undoubtedly the genuinely romantic genre in which the polyhedral vision of musical art in the nineteenth century is expressed, the deep relationship between poetry and music in the aesthetic panorama of the Romantic century, in terms of the relationship between ‘pure music’ and subordinate music or with the support of a text: the lied seems to be, sometimes, both.
In the lied, the foundations that are more opposed and contradictory coexist, giving the basis to the genre. Those of G. W. F. Hegel, who understood that the poetic or literary addition to instrumental music was necessary to elevate it to the highest degrees of the artistic expression, with those of A. Schopenhauer, for whom pure music, expressing by itself the universal will, whose purpose is to maintain the creation, does not need literary ideas, since they woud trap it in the material order of human reason. In the romantic lied, created by F. Schubert, poetry and pure music coexist, as the piano does not accompany established musical formulas but instead proposes its own independent discourse.
In the first part of the concert, María José Montiel and Miquel Esterlich offer us a different, unusual, alternative to the romantic lied with two works by the pianist and composer Clara Schumann, who left us a large series of lieder in the genre, some of which are lost. From the op. 12 series, of which no. 2, 4 and 11 are her originals and the rest of her husband R. Schumann, we will listen to no. 4, Liebst du um Schönheit, and the six lieder of op. 13, we will listen to no. 1, Ich stand in dunklen traümen. From the Austrian composer and conductor Heinrich von Herzogenberg, we will listen to Wiegenlied op. 30, no. 3 and Schlaf nur ein op. 96, no. 2
We will hear five lieder from Miquel Capllonch, who spent his life between Mallorca and Madrid, as well as in Germany, where he stood out as a performer and piano teacher in the capital Berlin: no. 2 and no. 3 of of his op. 2 Wiegenlied and Sommerlust; no. 4 of op. 5, Zum Abschied, and no. 2 and 3 of op. 14, Meine Gräber and An die Heimat, an excellent example of the refined romantic taste of the Mallorcan composer.
In the second part of the program there are two works by Miquel Capllonch for solo piano: the Barcarola op.16 no. 2, romantic evocation of the song of the Venetian gondoliers and Nocturn op.10, no. 5, romantic evocation of sensations during the night, whose origin is found in John Field’s nocturns, and his greatest expression in the pianist literature of F. Chopin.
Three Spanish musicians share with Miquel Capllonch the second part of the program by María José Montiel and Miquel Esterlich: Ernesto Halffter, Enrique Fernández Arbós and Ruperto Chapí.
From the first of them, much younger than Capllonch, we will listen to two Portuguese songs composed in collaboration with Alexander Rey Colaço.
With the last two of them, our composer shared the musical life of Madrid in the second half of the 19th century. With the renowned violinist, Enrique Fernández Arbós he unites his personal musical experience in Germany, and with the composer Ruperto Chapí, his composition training at the Conservatory of Madrid. We will be listening to two of them respectively, two of the Six rhymes by Gustavo Adolfo Becquer op. 3 and the “Song of the Gypsy” by Zarzuela La Chavala.
The concert closes with French vocal music. Of the twenty melodies composed between 1896 and 1921 by operist Reynaldo Hahn, a composer born in Caracas and musically trained in Paris, where he died in 1947, we will listen to To Chloris, written in homage to J. S. Bach, in which we will appreciate the mixture of the characteric aesthetics of the French song of the fin de siècle, with the adornment of the Baroque keyboard proposed by Reynaldo Hahn.
Around this last piece, María José Montiel and Miquel Esterlich offer us their interpretation of two works by two of the greatest composers of French music: Claude Debussy and Camille Saint-Saëns.
From the first of them, we will hear the song Beau soir from 1880, from the second of them, considered from a very young age the most influential composer for the recovery of French music in the 19th century, we will listen to the aria, Mon coeur à s’ouvre à ta voix, melodie for mezzosoprano sung in the central part of the duet of lovers of Act II of the opera Samson and Delilah, when Delilah takes the last bit of strength that Samson has left.
Ignacio Botella Ausina
As the winner of the Premio Nacional de Música 2015 and a finalist in the US Grammy awards, publications such as Opera News (USA), Ópera Actual (Spain), Opéra Magazine (France), L’Opera (Italy) and Orpheus (Germany) place María José Montiel as one of the current great mezzosopranos, praised for the beauty of her timbre, her delicate performances and her communicative power.
She has sung on some of the most important stages in the world, with some highlights being Milan’s Teatro alla Scala, the Wiener Staatsoper, the Opéra de Paris, Carnegie Hall N.Y., the Theater an der Wien, Vienna’s Konzerthaus and Musikverein, the Fenice de Venecia, Naples’ Real Teatro di San Carlo, Paris’ Salle Pleyel, Leipzig’s Gewandhaus, Moscow’s Bolshoi Theatre, NHK Hall and the Tokyo Opera, Sydney Town Hall, Brussel’s Théâtre Royal de la Monnaie, Toulouse’s Capitole, the Oper der Stadt Köln, Frankfurt’s Oper, Washington’s Kennedy Center, the Los Angeles Opera, the Teatro Comunale di Bologna, the Teatro Massimo di Palermo, the Teatro Regio di Parma, Trieste’s Teatro Verdi, the Hungarian State Opera House, the Orchestre symphonique de Montréal, Rotterdam’s De Doelen, Peking Opera, London’s Rosenblatt Recitals, the Liverpool Philharmonic, the Warsaw National Philharmonic Orchestra, Helsinki’s Finlandia Hall, Bregenzer Festspiele, Lisbon’s Teatro Nacional de São Carlos, Madrid’s Teatro Real, Barcelona’s Liceu, Valencia’s Palau de Les Arts and San Sebastian’s Kursaal among many more.
Some career landmarks include her Carmen at the season opening of the Real Teatro di San Carlo in Naples under the direction of Zubin Mehta, the re-inauguration of Madrid’s Teatro Real on 11th October 1997 as the leading role of La vida breve and the subsequent performance of the piece by M. de Falla for the first time in Australia, her acclaimed debut of Carmen in Toulouse, the world premiere of Merlin by Albéniz, the re-inauguration of the Teatro Avenida in Buenos Aires together with Plácido Domingo or Verdi’s Requiem which she sang on more than fifty occasions, mainly directed by Riccardo Chailly and together with orchestras from all over the world.
She has also performed operas such as Samson et Dalila, Aida, La Favorita, Cosi fan tutte, Il Barbiere di Siviglia, Les Contes d’Hoffmann, Un ballo in maschera, La Gioconda, Luisa Miller, Werther, Medea, Tancredi, L’Heure espagnole, Pepita Giménez and the world premiere of María Moliner. Concerning symphonies and oratorios, she has sung Mahler’s Symphonies No.2, No.3 and No.8 and his works Lieder eines fahrenden Gesellen and Stabat Mater, Rossini’s Petite messe solennelle, Chausson’s Poème de l'amour et de la mer, Ravel’s Shéhérazade, Berlioz’s Les nuits d’eté, Brahm’s Alto Rhapsody, Prokofiev’s Alexander Nevsky, and Beethoven’s Symphony No.9.
She has been directed by maestros such as Maazel, Dutoit, Steinberg, Petrenko, Oren, García Calvo, López Cobos, Tebar, F. de Burgos, Gómez Martínez, Fisher, Decker, Foster, Pons, Kivacs, Marriner, Tate, Benini, Delacote, Stein and Hollreiser.
A great specialist of lied and Spanish, French and Portuguese song-styles, María José Montiel is also an advocate of the Spanish repertoire and contemporary music which she has performed in more than two hundred recitals around the world.
Her discography contains more than twenty recordings.
Other awards include: Sociedad Autores, Mejor Cantante Ópera Premios Líricos, Premio de la Comunidad de Madrid, Premio Radio Nacional, Premio CEOE.
Since 2017 she has been the ambassador of the Fundación Columbus.
Born in Palma (Mallorca), he is titular professor and founder of the Conservatori Superior de Música de les Illes Balears, institution he has directed. He has performed as soloist with the Orquestra Simfònica Ciutat de Palma, the Orquestra Simfònica de Balears, the Marburg's Orchestra (Germany) and Cannes' Orchestra (France), etc. His intense and diverse activity as a pianist has carried him to play in great theatres such as the Kennedy Center of Washington, the Teatro de la Zarzuela in Madrid, the Palau de la Música in Barcelona, el Palau de la Música in València, auditoriums of Madrid, Zaragoza, Santander, Italy, Portugal, France, Austria, Germany, China, as a soloist with orchestras, soloist or chamber music. He has recorded twelve CD and edited more than fifteen books with works for piano, voice and piano and for piano and orchestra by Frédéric Chopin Baltasar Samper, Jaume Mas Porcel, Joan Maria Thomàs, Miquel Capllonch and Antoni Parera Fons, among others. He has recorded for RNE, TVE, Catalunya Música and for different foreign televisions (Germany, France, Japan, England, Poland, United States, China, etc.).
He is regularly invited to teach at The Paris International Summer Sessions in the École Normale of Paris, Alfred Cortot, as well as at the universities of Taiwan and China.
He is doctor by the University of the Balearic Islands and pianist of the Orquestra Simfònica de Balears since its foundation in 1989.