WE INTERVIEWED ONE OF THE PROTAGONISTS OF OUR NEXT CONCERT, THE FLUTIST PEDRO GIRBA VIDAL

Dear public

The next Iberian Sinfonietta concert is approaching, with which we will say goodbye until after the summer. It will be on Saturday, therefore, a pleasure to be able to count on your presence, to share another of the wonderful evenings to which Iberian Sinfonietta has accustomed us. In a previous entry, about the repertoire that you will be able to enjoy next Saturday , May 21, starting at 7:00 p.m. at the Peace Palace , we drew attention to the interesting coincidence of works by Haydn and one of the sons by Bach, Johan Cristian Bach. We also told them that the third work that would close the program was an interesting composition by Mozart. A work that, although it is a delight to listen to at home, in the car or anywhere else, live is absolutely captivating. The beauty of the music is joined by the dialogues with the tutti of the orchestra of the solo instruments, the flute and the harp. Among them, in turn, Mozart creates dialogues and passages that marvel at their virtuosity at times, their intimacy at others, and in general a unique moment is created between performers and audience.
The Concerto for Flute and Harp in C Major, KV 299 by Mozart, is commissioned by an aristocrat who played the flute and his daughter the harp. He therefore requested a work from Mozart for both instruments with which both father and daughter could share , rehearsals and making music together. It is a great opportunity to enjoy how Mozart composes for harp and flute, as it is his only concert of this format. One of the soloists invited to perform this work will be Pedro Girba Vidal , an impressive flutist already known to the Iberian Sinfonietta audience, with whom we had a very pleasant conversation that we want to share with all of you. We leave our conversation to you.

Pedro, you know Iberian Sinfonietta well, since you have played with her more times, what is your opinion about it?

It is not the first time that I play with Iberian Sinfonietta . I feel privileged to have the opportunity to rub shoulders, once again, with great musicians like them as well as their director Juan Paulo Gómez . I have rarely played under his baton but I have fond memories of our last performances with works by Bach, such as his Suite in B minor or the Brandenburg Concerto No. 2 and works by Mozart such as the concert that we will hear soon for flute and harp , A delight for the senses. The quality of their musicians is impeccable to the point where we only need to look at each other and make a small gesture to know what our partner is thinking. The mastery of its director makes even the most complex thing become child's play.

In this Concerto for Flute and Harp by Mozart, what role does the flute play?

In this work, Mozart gives the flute a leading role alongside the harp. Its melodic lines are of great elegance, which fits perfectly with the aesthetics of the classical era. There is a lot of talk about Mozart not liking the flute but it seems incredible to think that after hearing the singular beauty of this concerto. It is likely that what he did not like was writing several pieces in a row for the same instrument since, in a letter to Leopold he commented “…as soon as I have to write non-stop for the same instrument (which I cannot stand) I become completely stagnant.” . In this letter to his father he alluded to the concerto in G Major, isn't it disconcerting considering the beauty of that concerto?

What importance does this work have in the flute repertoire?

It is possible that this concerto is less known to the public than Mozart's other two flute concertos and for that reason it is mistakenly thought that this piece has less relevance within the works of the Salzburg genius. Nothing is further from reality. The main reason why this concert is scheduled less is the difficulty in finding flute and harp soloists willing to undertake this project. Therefore, this concert is a great opportunity to listen live to a piece in which Mozart combines two instruments as evocative as the flute and the harp in a masterful way.

We know that you and the Director understand each other perfectly on stage, in that sense, how has working with Maestro Juan Paulo been on this occasion?

Working with maestro Juan Paulo Gómez is simply a unique experience. Juan Paulo has the ability to make even the most complex things simple. I admire their excellent organization and planning in every project we have worked on together, I think that is essential for the work of so many people to flow and be as fruitful as possible. His involvement is full and on stage, at his side, everything works perfectly from minute one.

What moment are you in musically?

I am currently a Flute teacher and vice director at the “María De Molina” Professional Conservatory of Music in Úbeda. Although both positions require great dedication, throughout the year I usually participate in various projects that keep me close to the stages. Soon, I am going to record a CD with music by the composer Juan Erena together with the guitarist Sergio Calero. In the field of chamber music, I am going to offer concerts with the Vents a 5 Quintet in the Valencian Community. Committed to the pedagogical work and dissemination of the flute, I participate as a flute teacher in the Cazorla Summer Flute Course.

Next Saturday it will be this work that closes the Iberian Sinfonietta season, therefore, a Concert full of positive and also contrasting sensations. One course is closing but another impressive new one awaits us. We wish you the best and that we can enjoy your interpretation of this Mozar Concerto. All the luck in the world Pedro. Not to miss it

Jorge Rodríguez Morata
Pedagogical content coordinator