Friday, July 19, 2019, the 19th recital “at home” was performed by Marina Rodríguez Brià on the piano table Clementi & Co. of 1824.
The program included works by Muzio Clementi and John Field, who had already studied with Clementi and traveled with him to Vienna and Russia, where he lived for more than twenty years and where he formed many pianists. It was he who called “nocturne” to pieces full of poetry, where the right hand generally makes the melody and the left accompanies with wide armonies with pedal, playing the piano already with a totally romantic style.
The sonata op. 34 no. 2 of Clementi is one of the most interesting and complex of this musician. Although it remembers us Beethoven, in 1795, he had not yet composed any symphony and was just beginning his first sonatas.
And finally, the attendees chose the work that closed the recital, from the repertoire that Marina Rodríguez will play at the Geelvinck Fortepiano Festival in Holland this August. Dussek? Cramer Marianna Auenbrugger? More Clementi? The assistants chose Marianna Auenbrugger.
The complete program was as follows:
MUZIO CLEMENTI (1752-1832), SONATA op.34 num. 2 en sol menor (1795)
Largo e sostenuto
Allegro con fuoco
Un poco adagio
Finale. Molto allegro
JOHN FIELD (1782-1837), NOCTURNE num. 5 en si bemol mayor
MARIANNA AUENBRUGGER (1759-1782). SONATA en Mi bemol mayor, 1st movement
Friday, May 31, 2019, the 18th recital “at home” was performed by Marina Rodríguez Brià on the 1824 square piano Clementi & Co.
The program was devoted to Marianna Auenbrugger and consisted of two sonatas:
Marianna Auenbrugger (1759-1782). Sonata in E flat major. Moderato, Largo, Rondo, Allegro.
Muzio Clementi (1752-1832). Sonata op. 8 no. 1 in G minor (1782). Dedicated to Marianna Auenbrugger. Allegro, Andante cantabile, Presto.
After the famous duel with Mozart in 1781, Clementi stayed a season in Vienna playing and giving classes. Among others, he probably had Marianna Auenbrugger as a disciple, young pianist and composer. Haydn was a teacher of her and admired her talents and that of her sister to whom he dedicated some sonatas. Marianna’s counterpoint teacher was Antonio Salieri. Mozart and other musicians also frequented the Auenbrugger’s house. Unfortunately, Marianna died in 1782 at age 23. Salieri published the only sonata written by the young woman, along with an Ode composed by himself in his memory. For his part, Clementi dedicated the Sonata Op.8 no. 1 to Marianna. Composed in minor key, the emotion contained in the themes and their treatment speak for themselves.
You can read an article by Joan Josep Gutiérrez Yzquierdo following this link.
You can also read a chronicle from Xavier Febrés on his blog following this link.
Visit the piano Clementi & Co. of the Masia d’en Cabanyes
On Saturday May 18, 2019, Marina Rodríguez Brià presented a thematic lecture-visit at La Masia d’en Cabanyes in Vilanova i la Geltrú. The activity was framed within the events of the International Day of Museums and was organized by the Manuel de Cabanyes Romanticism Interpretation Center (Garraf County Council) and the Muzio Clementi Association of Barcelona (AMCB).
The lecture, entitled 1820 London-Vilanova. A Clementi piano on a liquor boat, focused on the explanation of the Clementi & Co cabinet piano that was acquired in London in 1820 and that is preserved in the Museum. In the first part of the session, held in the lecture room, Marina Rodríguez explained some aspects that would relate the biographies of Muzio Clementi and Josep Anton de Cabanyes (who bought the piano in 1820) and gave details of the pianos of the time and, in particular, of the one that is kept in the house. He also spoke about the way in which the goods traveled and the routes that linked northern Europe with the Mediterranean. In the second part, the audience moved to the music room where Marina finished her presentation before the piano. To finish it opened a small turn of words with the public, who was very interested in the session.
The AMCB carries out a search and classification project of Clementi pianos in Catalonia to provide knowledge about the musical influence of this great composer in Catalan society. At the same time, this research includes the study of pianos of other local or foreign brands that can be found in Catalonia from the end of the 18th century to the mid-19th century. The objective is to give value to a heritage that can explain many elements related to the industry and the development of society in our country.
2019 05 18: Lecture at the Can Cabanyes Museum of Vilanova i La GeltrúRafael Bonet2020-04-28T15:42:48+02:00
Sunday, April 7, 2019 at the Església Vella de Ribes
From left to right, Belén Cabanes, Marina Rodríguez and José de Udaeta.
Belén Cabanes and Marina Rodríguez had the privilege of playing with the great dancer, choreographer and castanet player José de Udaeta.
The three made more than thirty concerts in many of the main theaters in Europe.
This year marks the 100th anniversary of the birth of José de Udaeta and 10 years of his dissapearance. Sant Pere de Ribes pays homage by putting his name on the street that leads to the Castell de Ribes, where the artist lived.
Among other compositions they will interpret works by Clementi
HOMAGE TO JOSÉ DE UDAETARafael Bonet2020-04-28T15:42:48+02:00
On Friday, November 9, 2018, the exhibition Muzio Clementi, the Father of the Pianoforte, was inaugurated at the Municipal Music Conservatory of Barcelona. This exhibition, initially presented at the Palau de la Música Catalana within the framework of the Maria Canals International Music Competition, goes on for the first time as an itinerant exhibition and with the intention of reaching different spaces and audiences.
In front of a large attendance, among which many students of the conservatory, the attached to the Management Team, Cristina Morales, and the president of the Muzio Clementi Association of Barcelona, Anna Cuatrecasas, indicated the importance of the event and thanked each part the interest and the effort to turn the project into a fact.
A luxury guest took part: Dr. Norbert Bilbeny, Professor of Ethics, in the Faculty of Philosophy of the University of Barcelona. Dr. Bilbeny did a brief but profound talk on the meaning of music, in line with the musical phenomenology advocated by Sergiu Celibidache.
María Rodríguez Brià, curator of the exhibition, briefly reviewed the content of the exhibition and goes interpret two works by Clementi on the Bechstein piano that presides over the “Peixera” classroom in the conservatory.
INAUGURATION OF THE EXHIBITION AT THE CONSERVATORYRafael Bonet2020-04-28T15:42:49+02:00
From November 9 to 24, 2018
Municipal Conservatory of Music of Barcelona
Carrer Bruc 110-112 (eixample)
A journey through the life and work of a great musician, essential in the history of the piano.
The exhibition is complemented by a look at the history of this instrument.
The recital “CLEMENTI and FRIENDS” took place on Friday October 5, 2018 at 7:30 p.m. at the Chamber of the Atlants of the Royal Artistic Circle of Barcelona, organized by the Muzio Clementi Association of Barcelona with the collaboration of the Royal Artistic Circle.
Marina Rodríguez performed the following program:
Muzio Clementi (1752-1832). Sonata in G minor, op.34 no. 2
Jan Ladislav Dussek (1760-1812). Within a Mile of Edinburgh
John Field (1782-1837). Nocturn in B flat major
Johann Baptist Cramer (1771-1858). Le petit rien Varied romance
Muzio Clementi (1752-1832). Sonata in C major, op.37 no. 1
and as bis, the Six russian arias of Clementi
A full report of this recital can be read here (in catalan)
The concert of Marina Rodríguez is part of the cycle Our guests, from the Royal Artistic Circle.
CONCERTS DE TARDOR: october 5, 2018Rafael Bonet2020-04-28T15:42:49+02:00
On Sunday, September 30th, a recital by the piano and historical keyboards player Michael Tsalka took place at the Museu de la Música de Barcelona, organized by the Muzio Clementi Association of Barcelona jointly with the Museum. Under the title “A different look to the roots of romanticism,” Tsalka made a tour of an unusual repertoire with special instruments: the Christian Zell clavicord (Hamburg, 1737) and the pianos Zumpe & Buntebart (London, 1776) and Miguel Slocker (Madrid, 1831). The concept of the program was based on piano composers precursors or prefiguring romanticism, such as Scarlatti, Clementi, Ries and Moscheles.
Once the program was finished, a surprise was still reserved. Tsalka invited the public to move to the museum hall where there is the piano by Frederic Mompou, in which he played a bis from this composer and another from Cécile Cheminade. With the assistants arranged randomly around the piano and in a cozy shadow, a special atmosphere was created that closed the recital with an unbeatable flavor.
The concert of Michael Tsalka opened the 2018-2019 concert season of La Música del Museu, Original Instruments in Bones Mans
CONCERTS DE TARDOR: September 30, 2018Rafael Bonet2020-04-28T15:42:49+02:00