GETTING TO KNOW IBERIAN SINFONIETTA

Dear public,

Today we inaugurate a new section within our publications, “Getting to know Iberian Sinfonietta”. It is dedicated to bringing us closer to the work, the trajectory and the work that different components of Iberian Sinfonietta carry out. It has been four years now and the spirit of the group, of the orchestra in which each one contributes and is recognizable with their own stamp, is noticeable, which is why, throughout these entries, we will get to know the orchestra from the inside.

On this occasion, and to inaugurate the section, we will do it as each concert begins, with the Concertmaster standing, tuning each section of the orchestra. In this sense, we understand that the first interview is with the orchestra's Concertmaster, Enrique Tudela .
Below we leave you your opinions and experiences throughout these years of work, for which we thank you.

You are the Concertmaster of a project that has become a reality that is Iberian Sinfonietta, what sensations does it give you?

I think that the important thing or the emphasis is not on being concertmaster of the Iberian Sinfonietta , but rather that this project is a reality in constant development in times that are more than difficult for culture. As a Concertmaster, it is also wonderful to belong to the Iberian Sinfonietta , because Juan Paulo Gómez has allowed me throughout these years to develop fully, choosing a wide variety of programs, of different styles and complexities that have always been a violin opportunity in the preparation prior to the concerts, study of the eras, composers, styles and I even usually choose the bow and violin so that the sound is coherent with the program.

What is your job like in the orchestra?

One of the strong points of this project, on a practical level, is Juan Paulo's excellent organization, since at the beginning of the season we already have the programs, dates and scores. This is an opportunity to organize the study throughout the year and have enough time to do all that preparation that is not seen from the musician and that requires many hours.

Normally, in the months before the concert, I search educational and research portals: doctoral theses, articles and books about composers, works and historical context. I study the characteristic bow strokes, phrasings, variety of timbres and try to make an evaluation of how these characteristics have evolved.
stylistically listening to different versions ranging from those offered by orchestras from the early 20th century to the most current versions. Finally, I usually dedicate a week to choosing the combination of violin and bow that best suits the compositional period, above all my goal is to find the sonority that is
get closer to the style. A French bow does not give you the same timbre possibilities as an English school bow, in the same way an Italian violin does not give you the same nuances as a French violin. Therefore, part of my job is to dedicate hours to
search for the appropriate combination to the repertoire.

All this work gives me the opportunity to have an eclectic idea of ​​all the interpretive possibilities of the program that we are going to offer. In the end, there remains the most important piece to fit, the director's own version, which is already the culminating experience for every orchestral musician.

Looking back, what do you think of these three years?

When you visit the Iberian Sinfonietta website, in the Who are we? section, I like how it begins: “Iberian Sinfonietta is a philanthropic orchestral project formed by professional musicians that was born in 2019 on the Costa del Sol (Málaga) with a educational and cultural objective towards the community based, mainly, on the support and dissemination of Classical Music.”

If I look back this is exactly what I see, that we have made an effort to spread Classical Music adding an unimaginable complexity in that year that was the outbreak of a pandemic, and that we continue at it. And from the beginning, professionalism was combined with philanthropic character, which depending on how you look at it seems like an old-fashioned combination, but from my point of view it is a very current concept and I would say innovative. Because carrying out projects that have community and “love of art” as pillars does not mean that anything goes, you have to work hard, be professional and always give your best to the public. And that is what I see, if I look back, and what I want to continue seeing for the future of this orchestra.

The best and the best

I will always say that the best thing is the work and effort that Juan Paulo makes, which cannot be seen in a YouTube video or a blog post, to make this project a reality and guarantee its continuity. Of course, it is wonderful to still have the conductor's trust to be Concertmaster of Iberian Sinfonietta . And one of the most rewarding emotions is the feeling of community with your colleagues, feeling that we are all part of this project, we all grow together
thanks to music and culture, with respect and good work.

You are going to allow me not to say anything in relation to what to improve, because each of us continues to work and grow from our lectern in a young project that increasingly tends to consolidate and have its space in the cultural society of Malaga. We are building our future as an orchestra with objectives achieved and others to come. I would like to ask myself this question in more years.

What moment are you at and is the orchestra there?

I think that the orchestra is in a magnificent moment, it has overcome difficult times as soon as it began, and I feel that the machinery is now perfectly geared for the orchestra to strengthen its own style that is its hallmark, that is, when you listen to the orchestra there are characteristics Let them tell you, this is Iberian Sinfonietta . As I said before, there is a sense of group, something essential to work together and even more so with a cultural fabric as sensitive as music performed in a group.

For my part, my moment is good, very good, I feel fulfilled and respected as a violinist at the Iberian and I would like to continue living up to the trust placed in me by the director and the orchestra.

Something that stays in our pipeline!

Well, we are left with the most important thing, our audience. The response we have and have had in times of pandemic is extremely satisfying. What's more, we have our usual concert fans. Iberian Sinfonietta is an example that if you want you can, we are a group of professional musicians with a more than noble common objective in these times, which is to systematically offer quality culture. Thanks to all my colleagues, all of us who are part of this project, for everything we share thanks to music and for working together, which is a luxury. This would not be possible without Juan Paulo, I thank him and we thank him for one day making this project a reality and for continuing to work on it with the discipline and perseverance that I know he dedicates to him.

Jorge Rodríguez Morata
Pedagogical content coordinator