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Homenaje a Monserrat Torrent. Presentación de su integral de Francisco Correa de Arauxo

Viernes, 10 de junio. Salas nobles, 18:30. Previa recogida de entrada gratuita en taquilla desde una hora antes de la actividad

Concerts

Portada de la caja con la Serie de Cd's "Facultad orgánica (Alcalá 1626) interpretados por Monserrat Torrent Pulse para ampliar
Monserrat Torrent Pulse para ampliar
Detalle de las manos de Monserrat Torrent interpretando al órgano

Mesa redonda y concierto de órgano

Organizan: Sociedad Española de Musicología (SEdeM) y Museo Arqueológico Nacional

Francisco Correa de Arauxo versus Montserrat Torrent SerraSalto de línea «Be good, okay?» Montserrat Torrent cautions Francisco Correa de Arauxo unceremoniously, before playing his Tiento 62 on the organ of Saint Peter church in Tordesillas, just about to finish the last volume of a memorable project, namely the first comprehensive recording of Correa’s Facultad orgánica (Alcalá de Henares, 1626).

That is because Correa and Torrent are on first-name terms. Although the composer and the organist belong to different periods and contexts, they display a similar artistic character, which is rich and multifaceted. Both have focused themselves on a discurso de música («music discourse»), although three hundred years separate the publication of the Facultad orgánica from the birth of the performer who brought it to life in the twentieth century. These two musicians create from their endless inner lives characterised by changes of mind, hasty conclusions, and justified whims. And it is the perpetual contradiction of their choices—as a result of uncertainty and inner conflict—what allows music to flow out.

Both artists—composer and performer—have walked along thorny paths in the search for solutions to technical problems concerning the writing and the meaning of organ music. Their purpose is to find an exact answer—which nobody seems able or willing to find—to the following question: is there an ultimate solution to the proportions, which still today make the most seasoned organist desperate as they can be played in thousands of ways and none of them is accurate? Correa’s music is further complicated by his painful moral cases, even though these are the spark of tiento. And it is just this unnatural procedure what brilliantly illuminates his works. Therefore, there is not an amateur approach to the Facultad orgánica as it was conceived in 1626, and the interesting aspect is how both Torrent and Correa contravene the ideas that they themselves propose.

Participan:

  • Javier Marín López. Vicepresidente de la SEdeM
  • Marta Serna Medrano. Musicóloga e impulsora del proyecto
  • Montserrat Torrent i Serra. Organista y profesora
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