Trombone, trumpet and piano soloists and viola quartet in concert tomorrow in the Chamber Hall
Tomorrow (Thursday, May 28) at 7 p.m., the Chamber Hall of the Auditorio de Tenerife welcomes the rising stars of the Higher Conservatoire of Music of the Canary Islands (CSMC). The institution is to offer the public this opportunity to enjoy the talent of young musicians who stand out for their artistic qualities and promising professional potential. Entry is free until the total capacity is reached.
The event at Auditorio de Tenerife will also be a valuable training experience for the students; it will allow them to perform onstage in a professional setting and to present their work to the public in a venue of great prestige in the world of music.
The programme comprises a musical itinerary of significant aesthetic diversity that brings together the instrumental virtuosity, expressive intensity and sound richness of various composing traditions. The selected works cover a broad range of expressive forms, from lively concertante compositions to the discursive concentration of music for solo instruments and subtle chamber adaptation.
The concert will open with Diego Abreu Socas on trombone, followed by Jesús Rubén Afonso Morín on trumpet. Christian Alexander Contreras Leandro will then perform on piano. Lastly, the event will close with a viola quartet consisting of Stephane Schmalen, Blandina Imelda Dimande, Hernán García García, and Fátima Arencibia Corbera.
Henri Tomasi’s Concerto for Trombone and Orchestra and Concerto for Trumpet and Orchestra are two outstanding examples of musical language that combine lyricism, drama, and brilliant instrumentation. Both require performers’ technical proficiency as well as the ability to clearly project the deeply expressive nature of the melodic lines and harmonic density of these works.
In contrast to these concertante-oriented pieces, Eduardo Crespo’s Improvisation No. 1 for Solo Trombone features a space of greater introspection and freedom of form, where the discourse unfolds in a natural, seemingly spontaneous manner. The composition’s focus on the soloist takes on a particularly intimate quality after exploring the instrument’s colour, resonance and rhetorical flexibility.
Jean-Philippe Rameau’s Les Cyclopes draws on the vitality and refinement of the French Baroque, while Gabriel Fauré’s Ballade adds to the programme a lyrical and contemplative dimension marked by the harmonic subtlety and the elegance of its discourse. Along with this work is Franz Liszt’s Transcendental Étude No. 8, Wilde Jagd, a paradigmatic work of
Romanticism in piano music. Its technically demanding passages are an integral part of a composition with exceptional dramatic drive and evocative strength.
The programme concludes with York Bowen’s Fantasia for Four Violas in E minor, Op. 41, No. 1, which is of note for the quality of its sonority and the delicate nature of its contrapuntal and harmonic approach. As a whole, this repertoire offers a diverse and cohesive listening experience, in which each work provides a singular perspective on virtuosity, expressiveness, and instrumental colour.