Dear public,

This week, on the occasion of our next appointment on Saturday , March 13 at the La Paz Palace in Fuengirola at 12:00 pm around the very special program “From another prism”, we wanted to take advantage and get to know a little more closely one of the most relevant people in what was a project and today is a reality, called Iberian Sinfonietta .

We are referring to the Concertmaster, Enrique Tudela . He, as a violin teacher and performer, in each appointment has a job that demands rigor and passion , and this is precisely what he transmits. In addition, he makes a constant exercise of getting involved in each program and adapting to the demands of the composer, the director. and therefore contribute to each work and each passage its own life .

Next day the 13th, he will have a significant intervention defending the numerous interventions of the composer of the year, Astor Piazzola , whose centenary of his birth is celebrated throughout the world in 1921. Furthermore, it will be in one of Piazzola's most awarded works, his Four Buenos Aires Seasons . While we wait to hear him play the violin, we get to know his opinion on various issues:

Your second year as Concertmaster of the Iberian Sinfonietta, and in a few weeks one of Piazzola's great works, how do you face it?
To begin, I would like to thank Iberian Sinfonietta for the trust placed in me during these two years, and especially its director Juan Paulo Gómez , for all his effort and dedication in this great project.

How do you approach a great work like the Four Seasons of Buenos Aires?
Well, with a lot of study and research , this work has led me to look for new resources in the instrument both for sound and expressive effects.

It is a work of great complexity where every minute you dedicate to it brings you closer to the great master Astor Piazzolla, his compositional style, his person and especially his great sensitivity.

This year is Piazzola's Centennial, does that add something special to your performance?
Indeed, this year is the Centenary of the great master of the Bandoneon , being such important dates for this reason and taking into account the situation we find ourselves in due to Covid, I simply hope that my interpretation to a certain extent pays tribute to Piazzola already. All those people who are in a difficult situation, perhaps with music we can make it something more bearable and I hope to be able to transmit all that expression and richness that Piazzola shows in this great work.

We will listen to an adaptation of the work by Piazzola, a bandoneon specialist. What is your opinion of this arrangement for string orchestra?
Comment that the original version of the “Estaciones Porteñas” is written for instrumental quintet, composed of Bandoneón, violin, piano, electric guitar and double bass.

The arrangement for solo violin and string orchestra belongs to the composer Leonid Desyatnikov , where it very accurately reflects the essence of tango and music from Buenos Aires , in regards to rhythm, timbre, harmony and expression, but on this occasion interspersing fragments from the Four Seasons of the great Venetian composer Antonio Vivaldi .

This link that Desyatnikov manages to create between Piazzolla and Vivaldi is something very special, since we move from the harmony and counterpoint characteristic of baroque Venice , to the pure essence of tango in the streets of Buenos Aires .

Enrique, thank you very much for your words, and we look forward to your brilliant intervention next Saturday the 13th, we wish you all the luck!

Jorge Rodríguez Morata
Pedagogical content coordinator