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Martín Martín Acevedo -piano-
Born in Madrid. In a short time, he moved with his family to Almería and Cádiz, whereby he began his Piano studies at Academia de Bellas Artes Santa Cecilia in El Puerto de Santa María and the Real Conservatorio Profesional de Música Manuel de Falla. Later, he furthered his studies at Conservatorio de Música Amaniel, in his hometown, and the Real Conservatorio Superior de Música de Madrid with Fernando Puchol, where he obtained three Graduation Prizes in Piano, Chamber Music and Musical Analysis, as well as the bachelor’s degree in Piano, Chamber Music and Improvisation.
He subsequently furthered his education in the Specialization Courses at the Universidad de Alcalá with Ferenc Rados and Josep Colom. In addition, having achieved scholarships from the Spanish Ministry of Culture, the Community of Madrid, and the Spanish Society of Performing Artists (AIE), he studied at the Royal Irish Academy of Music with Hugh Tinney, thereby obtaining the degree of Master of Music in Performance (MMusPerf) awarded by Dublin City University with distinction (First Class Honours).
Moreover, Prof. Martín Acevedo has studied for several years with Galina Eguiazarova. He has been taught by other Professors such as Christopher Elton, Imre Rohmann and John O’Conor, who invited him to attend Beethoven Masterclasses at the Wilhelm Kempff Academy, in 2004.
He concluded his academic training with a Doctorate (PhD) from the Universidad Autónoma de Madrid. In 2021, his doctoral thesis on the study, interpretation and performance of Iberia by I. Albéniz obtained the outstanding with honours distinction (Cum Laude).
Dr. Martín Acevedo won several prizes at Juventudes Musicales de España Competition (1992), Marisa Montiel National Piano Competition in Linares (1996 and 1998), the Manuel de Falla Piano Competition in Granada (2003, 2005 and 2006), 50th María Canals International Piano Competition in Barcelona (2004), I Compositores de España National Piano Competition held in Vigo (2005), and the VII Francisco Salzillo Chamber Music Competition in Murcia (2008).
He has given numerous piano and chamber music recitals and has performed as a soloist with several orchestras in prominent venues such as the Auditorio Nacional (Madrid), Auditorio Conde Duque (Madrid), Auditorio Sony de la ESMRS (Madrid), Juan March Foundation (Madrid), Centro Cultural de la Villa (Madrid), Canal Theatre (Madrid), Lienzo Norte (Ávila), Romea Theatre (Murcia), López de Ayala Theatre (Badajoz), Quijano Municipal Theatre (Ciudad Real), Vicente Espinel Theatre (Ronda), Teatre d’es Born (Menorca), Auditorio de la Merced (Sanlúcar de Barrameda), Staatliche Hochschule für Musik (Trossingen, Germany), National Concert Hall (Dublin, Ireland), National Gallery (Dublin, Ireland), Goethe Institut, (Dublin, Ireland), Fondazione Wilhelm Kempff (Positano, Italy), etc.
Martín Acevedo has recorded for National Radio of Spain (RNE) and Spanish Television (TVE), has also released two CDs published by the Tres Cantos City Council; a CD entitled Dulces Sueños I, which presents a collection of lullabies and other musical pieces for cello and piano; and the CD entitled Leyenda, including Spanish music for clarinet and piano. These recordings include some foray into composition, with works such as Canción de Duna (2010) and Fantasía para Hugo (2016).
He has performed an important role as a member of the Trio Dharma and forms duo with cellist Mª Ángeles Villamor.
He has combined his activity as a performer with research and teaching at institutions such as the Escuela Superior de Música Reina Sofía and the Real Conservatorio Superior de Música de Madrid. He has given Piano and Chamber Music masterclasses in several countries. Dr. Martín Acevedo is currently Chair Professor of Piano at the Conservatorio Superior de Música del Principado de Asturias.
https://www.facebook.com/martin.martinacevedo/
Martín Martín Acevedo
Nace en Madrid. Pronto su familia se traslada a Almería y a Cádiz, donde inicia sus estudios de Piano en la Academia de Bellas Artes Santa Cecilia de El Puerto de Santa María y el Real Conservatorio Profesional de Música Manuel de Falla de Cádiz. Posteriormente, continúa en el Conservatorio Profesional de Música Amaniel de su ciudad natal y el Real Conservatorio Superior de Música de Madrid, estudiando con Fernando Puchol, donde obtiene tres Premios de Honor de Fin de Grado en Piano, Música de Cámara y Formas Musicales, el Título de Profesor Superior de Piano y los Títulos Superiores de Música de Cámara e Improvisación.
Amplía su formación en los Cursos de Especialización de la Universidad de Alcalá con Ferenc Rados y Josep Colom. Asimismo, cursa estudios de posgrado en la Royal Irish Academy of Music con Hugh Tinney, gracias al merecimiento de becas del Ministerio de Cultura de España, la Comunidad de Madrid y AIE; logrando el Título de Master of Music in Performance por la Dublin City University con Matrícula de Honor (First Class Honours).
Además, Martín Acevedo ha estudiado durante varios años con la profesora Galina Eguiazarova y ha recibido clases de otros maestros como Christopher Elton, Imre Rohmann y John O’Conor, siendo invitado por este último a la Academia Wilhelm Kempff de Positano (Italia) como participante en las clases magistrales sobre las sonatas y los conciertos para piano de Beethoven, en 2004.
Culmina su formación académica con el Título de Doctor por la Universidad Autónoma de Madrid. Su tesis sobre el estudio e interpretación de Iberia de I. Albéniz obtuvo en 2021 la calificación Sobresaliente cum Laude.
El Dr. Martín Acevedo fue premiado en el Concurso Permanente de Juventudes Musicales de España (1992), Concurso Nacional de Piano Marisa Montiel de Linares (1996 y 1998), Concurso de Piano Manuel de Falla de Granada (2003, 2005 y 2006), 50º Concurso Internacional de Piano María Canals de Barcelona (2004), I Concurso Nacional de Piano Compositores de España celebrado en Vigo (2005) y el VII Concurso de Música de Cámara Francisco Salzillo de Murcia (2008).
Ha ofrecido numerosos recitales de piano y música de cámara, y ha actuado como solista con varias orquestas en importantes salas como el Auditorio Nacional (Madrid), Auditorio Conde Duque (Madrid), Auditorio Sony de la ESMRS (Madrid), Fundación Juan March (Madrid), Centro Cultural de la Villa (Madrid), Teatros del Canal (Madrid), Lienzo Norte (Ávila), Teatro Romea (Murcia), Teatro López de Ayala (Badajoz), Teatro Quijano (Ciudad Real), Teatro Vicente Espinel (Ronda), Teatre d’es Born (Menorca), Auditorio de La Merced (Sanlúcar de Barrameda), Staatliche Hochschule für Musik (Trossingen, Alemania), National Concert Hall (Dublín, Irlanda), National Gallery (Dublín, Irlanda), Goethe Institut (Dublín, Irlanda), Fondazione Wilhelm Kempff (Positano, Italia), etcétera.
Martín Martín Acevedo ha realizado grabaciones para RNE y TVE; dos CDs publicados por el Ayuntamiento de Tres Cantos; un CD titulado Dulces Sueños I, que presenta una colección de canciones de cuna y otras piezas para violonchelo y piano; y el CD titulado Leyenda, de música española para clarinete y piano. Estos trabajos incluyen alguna incursión en la composición, con obras como Canción de Duna (2010) y Fantasía para Hugo (2016).
El Dr. M. Martín Acevedo compagina una intensa actividad como intérprete, investigador y docente. Fue profesor de la Escuela Superior de Música Reina Sofía y el Real Conservatorio Superior de Música de Madrid. Ha impartido clases magistrales de Piano y Música de Cámara en varios países europeos. Actualmente es catedrático de Piano en el Conservatorio Superior de Música del Principado de Asturias.
Mª Ángeles Villamor Martínez
Estudió en el Real Conservatorio Superior de Música de Madrid bajo la dirección de Pedro Corostola, obteniendo el Premio Extraordinario de Fin de Carrera de Violonchelo a los 16 años de edad. Obtuvo además el Premio de Honor Fin de Carrera de Música de Cámara y simultaneó la carrera de piano bajo la dirección de Guillermo González. Becada por el Banco Exterior de España, amplió sus estudios con Reimund Korupp y Reine Flachot; además de asistir a clases magistrales con D. Geringas y M. Rostropovich. Posteriormente, amplió su formación en los Cursos de Especialización Musical de la Universidad de Alcalá con Imre Rohmann y obtuvo el Máster en Interpretación Musical por la Universidad Rey Juan Carlos, con su trabajo de investigación sobre el vibrato en el cuarteto de cuerda.
En 1992 obtuvo los Premios Andrés Segovia y José Miguel Ruiz Morales. En 2008 obtuvo el Primer Premio en el VII Concurso de Música de Cámara Francisco Salzillo.
Ha pertenecido a varias agrupaciones, como la Orquesta de Cámara de Latina, la Orquesta de Cámara Reina Sofía, Camerata del Prado y Ensemble Iberoamericano. Ha colaborado con la Orquesta Sinfónica de Radio Televisión Española y la Orquesta Sinfónica de Madrid. Como solista y como miembro de diversos grupos de cámara ha ofrecido conciertos en numerosos escenarios con gran éxito de crítica y público, entre los que cabe citar los realizados en el Auditorio Nacional, Teatro Monumental de Madrid, Fundación Juan March, Teatros del Canal, Círculo de Bellas Artes, Auditorio Conde Duque, Universidad Politécnica de Madrid, Universidad Autónoma de Madrid, Teatro Juan Bravo de Segovia, Teatro Arriaga de Bilbao, Teatro Principal de Pontevedra, Teatro Quijano de Ciudad Real, Basílica de San Lorenzo de El Escorial, Auditorio López Torres de Tomelloso, Auditorio de La Merced de Sanlúcar de Barrameda, Auditorio Andrés Isasi de Getxo, Palacio Ducal de Medinaceli, entre otros.
Sus actuaciones en el II Ciclo de Música de Cámara de Navalmoral de la Mata (Cáceres), el VIII Ciclo Fundación Nicomedes García Gómez de Música Española de Cámara de Segovia, el Festival Coma’10 de Madrid o el XI Festival Internacional de Música Contemporánea FesTC 2011; ponen de manifiesto su firme compromiso con la interpretación de la música española más actual.
En los últimos años ha desarrollado una intensa actividad formando dúo con el pianista M. Martín Acevedo y como miembro del Trío Dharma.
Ha realizado numerosas grabaciones para RNE y TVE. Su más reciente trabajo discográfico es un CD titulado Dulces Sueños I, una colección de canciones de cuna para violonchelo y piano.
Compagina su actividad como intérprete con la docencia. Ha sido profesora del Real Conservatorio Superior de Música de Madrid y actualmente desempeña su labor docente en el Conservatorio Superior de Música del Principado de Asturias. Mª Ángeles Villamor es la primera mujer catedrática de Violonchelo en España. Pertenece al cuerpo de Catedráticos de Música y Artes Escénicas desde 2017.
Su instrumento es un violonchelo Francois Perain de 1770.
Luis Magín Muñiz Bascón
Sobre mi
Nací en Avilés, en el seno de una familia con antecedentes musicales. En este contexto comencé mis estudios e ingresé en el Conservatorio Superior de Oviedo, donde me gradué ganando el premio de interpretación en viola y el de Música de Cámara Ángel Muñiz Toca, bajo la tutela del profesor Wieslaw Rekucki. A los diecinueve años ingresé como becario de la Orquesta Sinfónica de Asturias. Una persona muy influyente en mi formación musical durante este período fue Yuri Yurov, violista principal de la Orquesta del Teatro Bolshoi y los Virtuosos de Moscú. A partir de ese momento fui aceptado para realizar estudios de posgrado en el conservatorio Tchaikovsky de Moscú, con Fyodor Druzhinin, y en la Escuela Reina Sofía de Madrid, con Daniel Benjamini.
Mientras tanto me incorporé a la Joven Orquesta Nacional de España, actuando como violista principal y allí conocí a mi querido maestro Jesse Levine, quien me invitó a estudiar en la Universidad de Yale, donde realicé un Máster en Música y un Diploma de Artista. Me confirieron el premio Charles H. Ditson por mi desempeño académico durante mis estudios. Durante mi estancia recibí las influencias y consejos de grandes personalidades de la música, como el Tokyo String Quartet, Luciano Berio, Krzysztof Penderecki, Kurt Masur, Jaap Schroeder o Nobuko Imai, entre otros.
De regreso a España, trabajé como freelance en la Orquesta Sinfónica de Galicia, la Orquesta Sinfónica del Principado de Asturias y la Filarmónica de Gran Canaria. También participé en algunos concursos y obtuve varios galardones: ganador del Rotary Club International, Medalla de plata del Concurso Internacional Villa de Sahagún o el Diploma d’onore del Torneo Internazionale di Musica. He realizado audiciones para ser profesor de viola en el Conservatorio de León y el Conservatorio de A Coruña, donde di clases de viola y dirigí la Orquesta Sinfónica durante seis años.
Ya en 2004 me mudé de nuevo a Oviedo donde comencé a dar clases en el Conservatorio Superior de Música del Principado de Asturias, en el que actualmente ocupo la cátedra de viola. Vivo justo en la playa de Salinas, con mi esposa, mis tres hijos y una perra Briard de nombre Galilea, la Border collie Mina y un gato persa llamado Murphy. Cuando no dedico mi tiempo a la música, me gusta pasear por la playa, hacer senderismo y esquiar con la familia y amigos.
Interpretación
A la par de mis habilidades pedagógicas siempre he estado en contacto con el escenario, condición esencial para la enseñanza instrumental. En mi etapa en los Yale Chamber Players, como violista principal de la Orquesta de Cámara de Galicia y violista principal de la Orquesta de Cámara Ibérica, tuve la oportunidad de grabar para Naxos, Audivis, Sony y Valois, así como realizar giras por Europa y Estados unidos. He tenido el privilegio de trabajar con la New Haven Symphony, OSA, OSPA, Filarmónica de Gran Canaria, Orquesta Sinfónica de Galicia y como violista principal invitado de la Orquesta Española de Radio Televisión.
La música de cámara siempre ha sido una pasión para mí y siempre busco la oportunidad de interpretarla, porque en muchos casos combina la amistad con la quintaesencia del puro acto musical. Desde la fundación del Cuarteto de Cuerdas Nersos, o el Quinteto Turina, con quienes he tocado en las mejores salas del panorama nacional: Fundación Juan March, Auditorio Nacional, Musikaste; el Conjunto Ibérico; hasta mi proyecto más reciente, el Trío Lidón, con el que intento recuperar el legado de la música de cámara española.
En el campo solístico destaca el estreno mundial del Concierto para viola y orquesta de Salvador Brotons con la Orquesta de Cámara Ibérica; o la interpretación de la Fantasía para viola y vientos de Francisco Fleta Polo con la Banda Sinfónica de Barcelona, actuaciones con la OCGA, varias orquestas de Asturias o el debut como solista con la Joven Orquesta Nacional de España. En los últimos años he grabado varios CD con obras de compositores españoles: Arteaga, Alis, Fleta, Falla, Benejam, y he actuado en Estados Unidos, Dinamarca, Holanda, Reino Unido y España, con gran éxito de crítica.
Enseñanza
La enseñanza de la viola siempre ha sido mi pasión. Hoy, tras una experiencia cercana a los veinticinco años, son muchos los alumnos que han pasado por mi aula, algunos de ellos trabajando profesionalmente en orquestas de España y Alemania; otros sirviendo como profesores en diferentes conservatorios o disfrutando de una fructífera carrera internacional como músicos profesionales de cuartetos de cuerda.
He sido invitado a dar clases en la JONDE y la JOSPA y a impartir clases magistrales en diversas academias y festivales de verano como los del Ayuntamiento de Astorga, Cangas de Onís, Covadonga String Academy, EuroArts Festival de Leipzig y en los Conservatorios de Ávila, Salamanca o A Coruña, entre otros. También he enseñado en Peabody, la Universidad de Michigan, la Universidad de Florida, la Universidad Estatal de Arizona, American String Teachers Association, East Carolina University, Royal Nothern College of Music de Manchester, Birmingham Conservatoire, Aarhus Conservatory, Rotterdam Codarts, Groningen Conservatory, ESMAE de Oporto, Fundación Príncipe de Asturias y Forum Musikae, por citar unos cuantos. Además, como ex secretario de la International Viola Society y Presidente de la Asociación española de la viola, he participado en comités para el desarrollo de importantes eventos de promoción del instrumento tanto a nivel nacional como internacional. He tenido el privilegio de formar parte como jurado del prestigioso concurso internacional de viola W. Primrose, así como en diversos concursos de viola a nivel nacional, como el Concurso Internacional de Llanes o el concurso de composición del Festival de música española e iberoamericana de León, y he diseñado por encargo del gobierno de Asturias, junto con otros compañeros, una rúbrica para la evaluación de la interpretación musical plenamente implementada.
Mis principios pedagógicos están siempre dirigidos a satisfacer las necesidades de los alumnos. Una comprensión completa y significativa de la mecánica del instrumento y una cultura estética del sonido son esenciales para alcanzar las dimensiones de los estándares interpretativos de hoy. “¿Qué?, ¿cómo?, ¿por qué?, ¿para qué?” son las preguntas siempre presentes en la interpretación instrumental en sus múltiples variantes. Mi papel como pedagogo es buscar respuestas para mostrar el camino, y acompañar a los alumnos en esta aventura, durante nuestro tiempo juntos, hasta que puedan trazar su propio camino para que lleguen a expresarse de la manera más honesta y natural posible dentro de esta hermosa profesión.
Investigación
Tras mis estudios de musicología en la Universidad de Oviedo, me doctoré con la tesis La viola en España: historia de su enseñanza a través de los principales métodos y estudios. Creé un sello de investigación performativa, una plataforma para volcar nuevas e interesantes publicaciones. La primera publicación ha sido el documental Tesoros de la música española: el nacimiento del repertorio moderno para viola. Recientemente, he finalizado la edición crítica de algunas obras representativas del repertorio español, como la Sonata para viola y acompañamiento de piano de Tomás Lestán, el Solo para viola de Manuel Sancho, la Romanza de José Luis Lloret, el Concurso de Bartolomé Pérez Casas, la Sonatina en Do Mayor de Ángel Martín Pompey y la pieza Si los delfines mueren de amor para tres violas y voz del mismo autor. Antes edité el Solo de Brunet para violín, procedente del archivo de la Catedral de Oviedo.
Fruto de mis investigaciones he llegado a publicar artículos para la revista The Strad y otras especializadas en pedagogía, como DEDICA, como parte del servicio de publicaciones de la Universidad de Coimbra, e ISME, adscrita a la Sociedad Internacional de Educación Musical. He tenido el privilegio de participar como ponente en varios congresos internacionales, como los organizados por el IVS en Phoenix, Rochester y Würzburg, así como en el congreso de investigación performativa celebrado en la ESMUC de Barcelona, bajo el título “Cómo interpretar la música ibérica del siglo XVIII”, con una conferencia y concierto de música de viola en la Capilla Real de Madrid. Soy autor de dos libros: uno es una biografía del compositor español Francisco Fleta Polo, y el otro trata sobre la historia de la enseñanza de la viola en España y sus métodos.
Fernando Agüeria Cueva
Inicia sus estudios musicales como niño cantor en la Escolanía del Real Sitio de Covadonga y con el trompetista de jazz Gonzalo Casielles, para continuarlos posteriormente en los Conservatorios Superiores de Oviedo, Madrid y Salamanca; así como en numerosos cursos nacionales e internacionales.
Entre sus maestros destacan V. L.Diéguez, A.Yagüe, Luis de Pablo y Luigi Nono en Composición; y E. García Asensio, A. Ros Marbá, A. Blancafort, A.Ceccato, JanosFürst y H.Rilling en Dirección de Coro y Orquesta. Como director ha actuado, entre otras agrupaciones, con el Grupo Instrumental de Valencia, solistas de la RTVE, ONE, OSPA; de Cámara y GarchingerKantorei de Stuttgart; Real Filarmonía de Galicia; Orquestas de jóvenes de la región de Murcia y del Principado de Asturias; Bandas Sinfónicas de Buñol y Cullera; de Gijón, Langreo y Luarca, Orquesta Sinfónica “Ciudad de Oviedo” y Orquesta y Coro del Conservatorio Superior de Música del Principado de Asturias.
También en los Ciclos inaugurales del Auditorio “Príncipe Felipe” de Oviedo, del Auditorio de León, Ciclo de música española en Castilla-León, Ciclo de Cámara y Polifonía del Auditorio de Oviedo, de música contemporánea, “Oviedo es música”, Ronda por Asturias de Cajastur, Centenario de la Basílica de Covadonga en Los Jerónimos (Madrid), Camino de Santiago en Compostela…así como en festivales internacionales en Bremen (Die Glöcke), Mainz (Catedral), Munich (Benediktbeuern), París (Ile de la Cité), Roma (Parca Auditorio), Londres (Royal Festival Hall) y Singapur (Esplanade).
Licenciado en Historia y Arte por la Universidad de Oviedo, realiza los cursos de doctorado en el citado departamento concluyéndolos con un trabajo sobre el concepto de estética musical.
Doctor en Filosofía y Ciencias de la Educación por la UNED (Madrid) bajo la dirección de D. Manuel de Puelles Benítez. Ha colaborado con instituciones docentes como la Asociación Europea de Conservatorios, EuropachoirAkademie, School of Arts (SOTA) de Singapur, Centros de Profesores, Orquestas, Fundaciones, Ayuntamientos y Universidades. Autor del libro Historia de la educación musical en la España contemporánea. Un estudio de política legislativa, Oviedo, 2011.
Profesor titular, por oposición, en el Conservatorio Profesional de Música de Avilés.
Profesor titular, por oposición, en el Conservatorio Superior de Música del Principado Asturias.
Director titular (1992-2015), por concurso de méritos, de la Coral Polifónica de Asturias “Cruz de la Victoria”.
Catedrático, por concurso de méritos,en el Conservatorio Superior de Música del Principado Asturias.
Desde el 1/7/2014 es director del Conservatorio Superior de Música “E. Martínez Torner” del Principado de Asturias por concurso de méritos.
Primer premio de Composición “Ciudad de Oviedo”, Año 1995. Premio Federación Coral Castilla y León, Año 1992. Primer premio Concurso Internacional de Música “Paper de Música” de Capellades (Cataluña) obtenido por Roberto Álvarez (Flauta) y Ana Pérez Marín (Clarinete) por la interpretación de su obra Trans-Dos. Premio “Axuntábense” a la excelencia coral, año 2012, de la Federación Coral del Principado de Asturias. Premio de la crítica de la RTPA (Radio Televisión del Principado de Asturias) como mejor compositor de música clásica , año 2012, por su obra En Esta Hora para orquesta de cuerda.
Miembro de la SGAE, como compositor, sus obras han sido estrenadas por destacados solistas, grupos de cámara y orquestas en España, Francia, USA, Italia, Singapur… (Grabaciones en los sellos RTVE, Roncón, La Factoría, Paper Música Capellades, Raveharps Singapur).
Su presencia es habitual en foros profesionales nacionales e internacionales relacionados con la historia y el futuro de las EEAASS, especialmente de la Música, como en el IV Congreso Internacional de Pedagogía e Investigación Performativa y Creatividad Musical celebrado en Oviedo en 2021 (bajo el título La creación de los cuerpos de profesorado de las EEAASS en el marco de la Disposición adicional novena de la Ley Orgánica de Mejora de Ley Orgánica 3/2020 de Educación (LOMLOE), y el Estatuto de la Función Pública Docente”. Congreso Internacional de Pedagogía e Investigación Performativa y Creatividad Musical. Oviedo, 2021)
Entre sus obras publicadas podemos destacar:
- AGÜERIA CUEVA, Fernando. «Música Folklórica y Música Rexonalista (1884-1939)». En Alcordanza del Padre Galo «Fernán-Coronas». Oviedoː Consejería de Educación, Cultural, Deportes y Juventud del Principado de Asturias, 1998, pp. 87-89.
- AGÜERIA CUEVA, Fernando. Historia de la educación musical en la España contemporánea. Un estudio de política legislativa, Oviedo, 2011.
- AGÜERIA CUEVA, Fernando. Purita de la Riva. Pianista. Oviedo: FA, 2020. Sobre esta obra, la crítica señaló “En su obra Fernando Agüeria, director del Conservatorio Superior de Música de Oviedo, trasciende el género biográfico para explicar la evolución de la enseñanza del piano en Asturias a lo largo de un siglo
Fernando Agüeria Cueva
He began his studies as a choirboy at the Escolanía Real Sitio de Covadonga Choir and with the jazz trumpeter Gonzalo Casielles, subsequently pursued them in the Conservatorio Superior de Música of Oviedo, Madrid and Salamanca; as well as taking several national and international courses.
Among his masters, the following standout: Víctor Leoncio Diéguez, Alejandro Yagüe, Luis de Pablo, and Luigi Nono in Composition; and García Asensio, Ros Marbá, Alberto Blancafort, Aldo Ceccato, János Fürst and Helmut Rilling in choir and orchestra conducting. As a conductor he has performed with the Valencia Instrumental Ensemble, soloists of the Spanish Television and Radio (RTVE), the Spanish National Orchestra (ONE), the Symphony Orchestra of the Principality of Asturias (OSPA); the Stuttgart Chamber Orchestra- and the Gächinger Kantorei Choir; the Galicia Royal Philarmonia Orchestra; the Murcia and Asturias Youth Orchestras; the Buñol and Cullera, Gijón, Langreo, and Luarca Symphonic Bands; the Ciudad de Oviedo Symphony Orchestra and the Choir and Orchestra of the Conservatorio Superior de Música del Principado de Asturias.
Professor Agüeria has been part as well of the inaugural cycles of the Príncipe Felipe Auditorium, the León Concert Hall, the Castile-León Spanish music cycle, the Oviedo Concert Hall Chamber music and Polyphony cycle; “Oviedo es música”, Cajastur “Ronda por Asturias”, Centenary of the Covadonga Basilic at the church Los Jerónimos (Madrid), and the Camino de Santiago contemporary music cycles; as well as in the international music festivals of Bremen (Die Glöcke), Mainz (Cathedral), Munich (Benediktbeuern), Paris (Ile de la Cité), Rome (Parca Auditorio), London (Royal Festival Hall) and Singapore (Esplanade).
He is graduated in Art History by the University of Oviedo, where he completed and concluded a PhD, with a thesis on musical aesthetics concept.
He obtained a PhD in Philosophy and Education by the National Distance University (UNED) in Madrid, under the direction of Dr. Manuel de Pelles Benítez. He has collaborated with educational institutions such as The Association Européenne des Conservatoires (AEC), the Europa Choir Akademie, the Singapore School of Arts (SOTA), and other teaching centres, orchestras, foundations, city councils, and universities. He is the author of the book Historia de la educación musical en la España contemporánea. Un estudio de política legislativa (Oviedo, 2011).
Dr. Agüeria is tenured professor, place gained after a public examination, at the Avilés Conservatory of Music. He is also tenured professor, place gained after a public examination, in the Conservatorio Superior de Música Eduardo Martínez Torner.
He is principal conductor, by merit-based competition, of the Asturias Polyphonic Choir “Cruz de la Victoria”.
Professor Agüeria is chair professor of composition, by merit-based competition, in the Conservatorio Superior de Música Eduardo Martínez Torner.
Since July 2014, Prof. Agüeria is the director of the Conservatorio Superior de Música Eduardo Martínez Torner of the Principality of Asturias.
He is Winner of the First Prize in the Composition Award “Ciudad de Oviedo” (1995). Choral Federation Castile and León Prize, 1992. First place in the International Music Contest “Paper de Música” of Capellades (Catalonia), obtained by flutist Roberto Álvarez and clarinetist Ana Pérez Marín´s) performance of his piece Trans-Dos. “Axutabense” award for choir excellence, 2012, given by the Choir Federation of Asturias. RTPA (Radio Televisión del Principado de Asturias) Critics’ Prize for best classical music composer (2012) for his work En Esta Hora, for string orchestra.
Agüeria Cueva is member of the SGAE (General Society of Authors and Publishers in Spain). As a composer his works have been premiered by leading soloists, chamber music ensembles and orchestras in Spain, France, USA, Italy, Singapore (Records on the RTVE, Roncón, La Factoría, Paper Musica Capellades, and Raveharps Singapore music labels).
Among his masters, the following standout: Víctor Leoncio Diéguez, Alejandro Yagüe, Luis de Pablo, and Luigi Nono in Composition; and García Asensio, Ros Marbá, Alberto Blancafort, Aldo Ceccato, János Fürst and Helmut Rilling in choir and orchestra conducting. As a conductor he has performed with the Valencia Instrumental Ensemble, soloists of the Spanish Television and Radio (RTVE), the Spanish National Orchestra (ONE), the Symphony Orchestra of the Principality of Asturias (OSPA); the Stuttgart Chamber Orchestra- and the Gächinger Kantorei Choir; the Galicia Royal Philarmonia Orchestra; the Murcia and Asturias Youth Orchestras; the Buñol and Cullera, Gijón, Langreo, and Luarca Symphonic Bands; the Ciudad de Oviedo Symphony Orchestra and the Choir and Orchestra of the Conservatorio Superior de Música del Principado de Asturias.
Professor Agüeria has been part as well of the inaugural cycles of the Príncipe Felipe Auditorium, the León Concert Hall, the Castile-León Spanish music cycle, the Oviedo Concert Hall Chamber music and Polyphony cycle; “Oviedo es música”, Cajastur “Ronda por Asturias”, Centenary of the Covadonga Basilic at the church Los Jerónimos (Madrid), and the Camino de Santiago contemporary music cycles; as well as in the international music festivals of Bremen (Die Glöcke), Mainz (Cathedral), Munich (Benediktbeuern), Paris (Ile de la Cité), Rome (Parca Auditorio), London (Royal Festival Hall) and Singapore (Esplanade).
He is graduated in Art History by the University of Oviedo, where he completed and concluded a PhD, with a thesis on musical aesthetics concept.
He obtained a PhD in Philosophy and Education by the National Distance University (UNED) in Madrid, under the direction of Dr. Manuel de Pelles Benítez. He has collaborated with educational institutions such as The Association Européenne des Conservatoires (AEC), the Europa Choir Akademie, the Singapore School of Arts (SOTA), and other teaching centres, orchestras, foundations, city councils, and universities. He is the author of the book Historia de la educación musical en la España contemporánea. Un estudio de política legislativa (Oviedo, 2011).
Dr. Agüeria is tenured professor, place gained after a public examination, at the Avilés Conservatory of Music. He is also tenured professor, place gained after a public examination, in the Conservatorio Superior de Música Eduardo Martínez Torner.
He is principal conductor, by merit-based competition, of the Asturias Polyphonic Choir “Cruz de la Victoria”.
Professor Agüeria is chair professor of composition, by merit-based competition, in the Conservatorio Superior de Música Eduardo Martínez Torner.
Since July 2014, Prof. Agüeria is the director of the Conservatorio Superior de Música Eduardo Martínez Torner of the Principality of Asturias.
He is Winner of the First Prize in the Composition Award “Ciudad de Oviedo” (1995). Choral Federation Castile and León Prize, 1992. First place in the International Music Contest “Paper de Música” of Capellades (Catalonia), obtained by flutist Roberto Álvarez and clarinetist Ana Pérez Marín´s) performance of his piece Trans-Dos. “Axutabense” award for choir excellence, 2012, given by the Choir Federation of Asturias. RTPA (Radio Televisión del Principado de Asturias) Critics’ Prize for best classical music composer (2012) for his work En Esta Hora, for string orchestra.
Agüeria Cueva is member of the SGAE (General Society of Authors and Publishers in Spain). As a composer his works have been premiered by leading soloists, chamber music ensembles and orchestras in Spain, France, USA, Italy, Singapore (Records on the RTVE, Roncón, La Factoría, Paper Musica Capellades, and Raveharps Singapore music labels).
He is a regular presence in national and international professional forums related to the history and future of the EEAASS, especially Music, such as the IV International Congress of Pedagogy and Performative Research and Musical Creativity held in Oviedo in 2021 (under the title La creación de los cuerpos de profesorado de las EEAASS en el marco de la Disposición adicional novena de la Ley Orgánica de Mejora de Ley Orgánica 3/2020 de Educación (LOMLOE), y el Estatuto de la Función Pública Docente». International Congress of Pedagogy and Performative Research and Musical Creativity. Oviedo, 2021)
Among his published works we can highlight:
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- AGÜERIA CUEVA, Fernando. «Música Folklórica y Música Rexonalista (1884-1939)». In Alcordanza del Padre Galo «Fernán-Coronas». Oviedoː Consejería de Educación, Cultural, Deportes y Juventud del Principado de Asturias, 1998, pp. 87-89.
- AGÜERIA CUEVA, Fernando. Historia de la educación musical en la España contemporánea. Un estudio de política legislativa, Oviedo, 2011.
- AGÜERIA CUEVA, Fernando. Purita de la Riva. Pianist. Oviedo: FA, 2020. About this work, the critic pointed out «In his work Fernando Agüeria, director of the Conservatorio Superior de Música de Oviedo, transcends the biographical genre to explain the evolution of piano teaching in Asturias over the course of a century».
Yuri Nasushkin Labovsky -violin-
“Nasushkin’s art transcends his technique as a superb violinist. It leads to perceive that not only one’s senses, but the spirit itself, are traversed by the most powerful and beneficial stream that can be endured.”
José Galán Arias
Born in Kiev (Ukraine), Nasushkin is a violinist, conductor, violin and chamber music professor, promoter, founder, and organiser of numerous artistic and educational projects.
He graduated from the Ukrainian National Tchaikovsky Academy of Music and the Gnesin Russian Academy of Music, and then pursued at this last institution postgraduate studies in violin and orchestra conducting. Yuri Nasushkin’s professors include Oleg Krysa, Vladimir Spivakov, Sergei Skripka, Sergei Gorchakov, Isai Alterman, and Arturo Tamayo.
He has taught in several countries, including Moldova, Ukraine, Russia, Finland, Portugal, France, Italy, Spain, Czech Republic, South Korea, and Venezuela. Yuri Nasushkin is a member of the group of professors known as the Moscow Virtuosi. He has been concertmaster and assistant conductor to the chief conductor of the Symphony Orchestra of the National Opera of Moldova and the Chamber Orchestra of Radio and Television of Moldova.
Yuri Nasushkin was the founder and artistic director of the Principality of Asturias Youth Symphony Orchestra (JOSPA), artistic director of the Youth Orchestra of the Community of Madrid, founder and artistic director of the International Music Course «Oviedo Joven», and artistic director of the Youth Orchestra of the Kotlyarevsky National University of Arts in Kharkiv, Ukraine. Moreover, he has been the artistic director of the summer courses of the Princess of Asturias Foundation International Music School and the founder and conductor of the chamber orchestra Ensemble Ars Mundi, as well as guest conductor in Finland, Portugal, Ukraine, and Spain.
Maestro Nasushkin’s orchestral repertoire covers most symphonic and chamber music styles, including Mahler’s Symphonies nos. 1 and 5, Elgar’s Enigma Variations, Brahms’s Symphony no. 3, Tchaikovsky’s Symphony no. 5, Enescu’s Romanian Rhapsody no. 1, Verdi’s Requiem Mass, Schnittke’s Concerto grosso no. 1, and Schoenberg’s Transfigured Night, among other works.
He has performed in France, Iceland, Israel, Portugal, Russia, Czech Republic, Italy, Ukraine, Moldova, and several Spanish cities. Nasushkin’s premieres include works by internationally renowned composers such as the Finnish Oskar Merikanto and his opera Pohjan Neiti, the Spanish Ramón Prada and Guillermo Martínez, as well as Russian, Moldavian and Ukranian composers.
In Asturias he has premiered works by Arvo Pärt, Alfred Schnitke, Henryk Górecki, Fernando Agüeria, Daniel Sánchez, and Guillermo Martínez, among others. He has brought to life a series of works by young film music composers.
Yuri Nasushkin is deeply commited to promoting, researching and presenting current composers’ works, as well as retrieving early composers’, with special emphasis on young people, both from Spain and abroad.
In Spain, Prof. Nasushkin has recorded Ramón Prada’s Cantata para celtas y orquesta Keltikhé, with the Principality of Asturias Youth Symphony Orchestra; Guillermo Martínez’s Misa al Honor de la Virgen de Covadonga and Monumentum pro Mathematica: Quadrivium Somniat, with the Ars Mundi Ensemble; and the CD La música de cámara d’Asturies, a project aiming to recover, publish, and promote the chamber music heritage of the Principality of Asturias. These two latter recording projects have been awarded with the RTPA critics’ prize of the Principality of Asturias, as the best interpretations of contemporary Asturian music. Isaac Albéniz’s Asturias has also been included in the outstanding documentary film ReMine, nominated for a Goya award.
For several years, Nasushkin has been a member of the chamber duo Diálogo, with an extensive repertoire and international prestige. It is a project he shares with pianist Lidia Stratulat, who has worked as a professor both at the Moldovan State Conservatory of Music and at the Royal Conservatory of Music in Madrid, and has been awarded prizes in both national and international competitions.
Maestro Yuri Nasushkin’s passion and dedication to music, focused especially on the young, makes him a particularly approachable person. He gives his best with the intention of making the most of everything he participates in, and with the guiding certainty that our future lies in the hands of our young people.
Yuri Nasushkin Labovsky
«El arte de Nasushkin trasciende a su técnica de soberbio violinista… Es percibir no ya que los sentidos, sino que el espíritu mismo, es atravesado por la corriente más potente y benéfica que se puede soportar.»
José Galán Arias
Natural de la ciudad de Kiev (Ucrania), violinista, director de orquesta, profesor de violín y música de cámara, promotor, fundador y organizador de múltiples proyectos artísticos y educativos. Es licenciado por los conservatorios superiores de Ucrania (Conservatorio Chaikovski de la ciudad de Kiev) y Rusia (Academia Nacional Superior de Gnesin), y posgraduado en violín y de dirección de orquesta (Academia Nacional Superior de Gnesin). Entre los profesores de Yuri Nasushkin destacan Oleg Krysa, Vladimir Spivakov, Sergei Skripka, Sergei Gorchakov, Isai Alterman, y Arturo Tamayo.
Ha desempeñado labor pedagógica en Moldavia, Ucrania, Rusia, Finlandia, Portugal, Francia, Italia, España, República Checa, Corea del Sur, y Venezuela. Yuri Nasushkin es miembro del grupo de profesores Virtuosos de Moscú. Ha sido concertino y asistente del director titular de la Orquesta Sinfónica de la Ópera Nacional de Moldavia y de la Orquesta de Cámara de la Radio y Televisión de Moldavia.
Yuri Nasushkin ha sido fundador y director artístico de la Joven Orquesta Sinfónica del Principado de Asturias (JOSPA), director titular y artístico de la Joven Orquesta de la Comunidad de Madrid, fundador y director artístico del Curso Internacional de Música “Oviedo Joven”, y director artístico y titular de la Joven Orquesta de la Universidad Nacional de las Artes Kotlyarevsky en Járkiv (Ucrania). Además, ha sido director artístico de los cursos de verano de la Escuela Internacional de Música de la Fundación Princesa de Asturias. También es fundador y director y titular de la orquesta de cámara Ensemble Ars Mundi, así como director invitado en Finlandia, Portugal, Ucrania y España.
El repertorio orquestal del maestro Yuri Nasushkin abarca la mayoría de los estilos de la música sinfónica y de cámara. Destacan las Sinfonías nº 1 y 5 de Mahler, las Variaciones Enigma de Elgar, la Sinfonía n.º 3 de Brahms, la Sinfonía n.º 5 de Chaikovski, la Rapsodia rumana nº 1 de Enescu, la Misa de Réquiem de Verdi, el Concerto grosso n.º 1 de Schnittke, o la Noche transfigurada de Schoenberg, entre otras obras.
Ha actuado en Francia, Islandia, Israel, Portugal, Rusia, República Checa, Italia, Ucrania, Moldavia y numerosas ciudades españolas. Entre los estrenos realizados por Nasushkin se encuentran obras de compositores finlandeses (por ejemplo, la ópera Pohjan neiti, de Oskar Merikanto), españoles (Ramón Prada, Guillermo Martínez), rusos, moldavos, ucranianos…
En Asturias ha estrenado obras de Arvo Pärt, Alfred Schnitke, Henryk Górecki, Fernando Agüeria, Daniel Sánchez y Guillermo Martínez, entre otros. Ha dado vida a varias obras de jóvenes compositores de música cinematográfica.
Yuri Nasushkin desarrolla una intensa labor de promoción, investigación y presentación de las obras de los compositores actuales y la recuperación de compositores anteriores, haciendo hincapié en las creaciones de jóvenes compositores, tanto en España como en otros países.
Yuri Nasushkin ha grabado en España la Cantata para celtas y orquesta Keltikhé de Ramón Prada con la Joven Orquesta Sinfónica del Principado de Asturias, las obras Misa al Honor de la Virgen de Covadonga y Monumentum pro Mathematica: Quadrivium Somniat de Guillermo Martínez con el Ensemble Ars Mundi, y el CD La música de cámara d’Asturies, un proyecto de recuperación, edición y promoción del patrimonio camerístico del Principado de Asturias. Estos dos últimos proyectos discográficos han sido galardonados con el premio de la crítica de la RTPA del Principado de Asturias como las mejores interpretaciones de la música contemporánea asturiana. La famosa obra Asturias, de Isaac Albéniz, ha formado parte del destacado documental ReMine, nominado al premio Goya.
Nasushkin ha formado parte durante muchos años del dúo de cámara Diálogo, junto con doña Lidia Stratulat (pianista, profesora del Conservatorio Estatal Superior de Música de Moldavia y profesora del Real Conservatorio Superior de Música de Madrid, galardonada en concursos nacionales e internacionales), con un amplio repertorio y reconocido prestigio internacional.
La pasión y dedicación a la música del maestro Yuri Nasushkin a través de los jóvenes le convierte en una persona especialmente cercana, capaz de dar lo mejor de sí mismo con la evidencia de obtener lo máximo de ello, con la certidumbre de que en manos de nuestros jóvenes se encuentra el futuro.
Miguel Bobo de la Peña -guitar-
He began his musical studies in Zamora with Miguel Manzano, and continued them in Zaragoza, with Luis Suelves, and then in Salamanca, with Luis Martín Diego. He graduated as a guitar teacher —receiving an honourable mention— at the Royal Conservatory of Music of Madrid (1989), working with professors Antonio Ruiz Berjano and José Luis Rodrigo. He took further training courses with José Tomás, Gerardo Arriaga (courses 1988/89 to 1993/94), and José Miguel Moreno in early music (Madrid, 1988/89 academic year). He studied contemporary music with Roberto Aussel in Paris (1991/92) thanks to a scholarship from the Junta de Andalucía («Music and Dance: Improvement studies», Resolution of 10/12/91 [BOJA of 27/12/91]).
He obtained a Medaille d’Argent in Guitarre Classique Supérieur (Union des Conservatoires du Val de Marne, 1991/92) and the Third Prize in the XXI International Guitar Competition Fernando Sor (Rome, 1992). He has performed concerts as a soloist as well as with different chamber ensembles.
Dr. Bobo de la Peña was a guitar professor at the Manuel de Falla Conservatory of Cádiz (1989/90 and 1990/91) and, after a public examination, at the Professional Conservatory of Gijón (1992/93 to 2016/17). He is currently a guitar professor, on merit-based competition, at the Conservatorio Superior de Música del Principado de Asturias (2017-).
Dr. Bobo de la Peña was a guitar professor at the Manuel de Falla Conservatory of Cádiz (1989/90 and 1990/91) and, after a public examination, at the Professional Conservatory of Gijón (1992/93 to 2016/17). He is currently a guitar professor, on merit-based competition, at the Conservatorio Superior de Música del Principado de Asturias (2017-).
He holds two degrees in Classical Languages and Literature (University of Oviedo, 1999 and 2002). For the first one having obtained a graduation award (Clarín Award of the Philological Department). He ended the second one with the dissertation «Claudio Tolomeo y la teoría musical griega: El Tratado de Harmonía», supervised by Dr. Lucía Rodríguez-Noriega Guillén, which obtained both the qualification of excellent and an honour prize (Oviedo, course 2001/02), and the Pastor Prize 2002 for minor theses of the Pastor Foundation of Classical Studies (Madrid, 2002).
He completed his PhD in Classical Philology at the University of Oviedo in 2016. His thesis, entitled Greek Music in Porphyry’s Commentary on Ptolemy’s ‘Harmonics’ and supervised by Dr. Lucía Rodríguez-Noriega Guillén, was graded excellent cum laude, and Honourable Mention in the «Pastor Awards 2016 of Doctoral Theses» of the Pastor Foundation of Classical Studies. To carry out the preliminary study and the translation and commentary of Porphyry’s work, he was granted a sabbatical leave (academic year 2003/04) by the Ministry of Education of the Principality of Asturias (Resolution of 11/07/2003 [BOPA 04/08/2003]).
He completed his PhD in Classical Philology at the University of Oviedo in 2016. His thesis, entitled Greek Music in Porphyry’s Commentary on Ptolemy’s ‘Harmonics’ and supervised by Dr. Lucía Rodríguez-Noriega Guillén, was graded excellent cum laude, and Honourable Mention in the «Pastor Awards 2016 of Doctoral Theses» of the Pastor Foundation of Classical Studies. To carry out the preliminary study and the translation and commentary of Porphyry’s work, he was granted a sabbatical leave (academic year 2003/04) by the Ministry of Education of the Principality of Asturias (Resolution of 11/07/2003 [BOPA 04/08/2003]).
He has participated in the research project Studies on the Language of Fragmentary Greek Comedians of the Fifth Century (II), funded by the National R + D + i Plan (ref. FFI2008-01720 / FILO; main researcher: Dr. Lucía Rodríguez-Noriega Guillén), in charge of the study of the specifically musical lexicon in these authors. He is currently a member of the research project The Greek Literary Tradition in the SS. III-IV A.D. Grammarians, Rhetors and Sophists as Sources of Greco-Latin Literature (II), funded by MINECO (ref. FFI2017-83315-C2-1-P; main researcher: Dr. Lucía Rodríguez-Noriega Guillén), dealing, among other tasks, with the study of quotations from ancient Greek musical authors in the work of Athenaeus of Naucratis.
In the field of Ancient Greek Music he has authored the following publications and communications:
– “Monochord and Harmonic Canon. Two Comments on Ptol. Harm. 2.12 and 2.13”, The Classical Quarterly 61/2 (2011), 677-689.
– “A Note on Ptol. Harm. 102,6 Düring”, Arctos 44 (2010), 35-39.
– “El helicón y las Musas heliconíades: una cuestión lexicográfica”, Athenaeum 98/1 (2010), 25-43.
– “Ptolemy on Sound: Harmonics 1.3 (6.14-9.15 Düring)”, Mnemosyne 62/4 (2009), 548-585.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (II)”, Emerita 75/1 (2007), 137-152.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (I)”, Emerita 74/2 (2006), 341-358.
Book reviews:
– Review of S. Hagel, Ancient Greek Music. A New Technical History (Cambridge 2009), Mnemosyne 65/1 (2012), 164-168.
Papers – Conferences:
– “Music and Planets: the «Harmony of the Spheres», guest lecture in the series In Orbit: Around the Planets of Gustav Holst, organised by the University of Oviedo (Avilés, March 2013).
– “Ἁρμονικὸς κανών y μονόχορδος κανών. Two problems of interpretation in Ptol. Harm. 66.18 and 68.32 Düring», paper presented at the XVIII Jornadas de Filología Clásica at the University of Oviedo (April 2009).
– “The semantic field of dissonance: διαφωνία y ἐκμέλεια in Greek music”, lecture presented at the VI Seminar on Classical Philology at the University of Oviedo (March 2006).
Likewise, he has a degree in Mathematical Sciences (Universidad de Salamanca, 1980), and is in possession of the Post Graduate Certificate in Education (Universidad de Salamanca, 1981). He has been an associate teacher of Mathematics after public examination (1981/82 to 1988/89), currently on leave of absence, and has also been a collaborating professor at the I.C.E. in the course of «Didactics and Methodology of the Area of Mathematics» (University of Salamanca, academic year 1980/81).
He is in possession of the Diplôme de Langue Française (Alliance Française, 1983), as well as the Spanish Certificate of Competence for the Superior Cycle of French (EOI of Gijón, 1996), the Spanish Certificate of Competence for the Superior Cycle of English (EOI of Gijón, 2006) and the PLIDA B2 of Italian (Società Dante Alighieri, 2009). He was an assistant teacher of Singing at the Professional Conservatory of Gijón (courses 2004/5 to 2011/12), in the subject Languages Applied to Singing.
– “Monochord and Harmonic Canon. Two Comments on Ptol. Harm. 2.12 and 2.13”, The Classical Quarterly 61/2 (2011), 677-689.
– “A Note on Ptol. Harm. 102,6 Düring”, Arctos 44 (2010), 35-39.
– “El helicón y las Musas heliconíades: una cuestión lexicográfica”, Athenaeum 98/1 (2010), 25-43.
– “Ptolemy on Sound: Harmonics 1.3 (6.14-9.15 Düring)”, Mnemosyne 62/4 (2009), 548-585.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (II)”, Emerita 75/1 (2007), 137-152.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (I)”, Emerita 74/2 (2006), 341-358.
Book reviews:
– Review of S. Hagel, Ancient Greek Music. A New Technical History (Cambridge 2009), Mnemosyne 65/1 (2012), 164-168.
Papers – Conferences:
– “Music and Planets: the «Harmony of the Spheres», guest lecture in the series In Orbit: Around the Planets of Gustav Holst, organised by the University of Oviedo (Avilés, March 2013).
– “Ἁρμονικὸς κανών y μονόχορδος κανών. Two problems of interpretation in Ptol. Harm. 66.18 and 68.32 Düring», paper presented at the XVIII Jornadas de Filología Clásica at the University of Oviedo (April 2009).
– “The semantic field of dissonance: διαφωνία y ἐκμέλεια in Greek music”, lecture presented at the VI Seminar on Classical Philology at the University of Oviedo (March 2006).
Likewise, he has a degree in Mathematical Sciences (Universidad de Salamanca, 1980), and is in possession of the Post Graduate Certificate in Education (Universidad de Salamanca, 1981). He has been an associate teacher of Mathematics after public examination (1981/82 to 1988/89), currently on leave of absence, and has also been a collaborating professor at the I.C.E. in the course of «Didactics and Methodology of the Area of Mathematics» (University of Salamanca, academic year 1980/81).
He is in possession of the Diplôme de Langue Française (Alliance Française, 1983), as well as the Spanish Certificate of Competence for the Superior Cycle of French (EOI of Gijón, 1996), the Spanish Certificate of Competence for the Superior Cycle of English (EOI of Gijón, 2006) and the PLIDA B2 of Italian (Società Dante Alighieri, 2009). He was an assistant teacher of Singing at the Professional Conservatory of Gijón (courses 2004/5 to 2011/12), in the subject Languages Applied to Singing.
Mª Ángeles Villamor Martínez -violoncello-
She studied in the Royal Conservatory of Madrid, under the direction of Pedro Corostola, and obtained, at age sixteen, the Extraordinary Graduation Prize in cello. Moreover, she won the Honorific Graduation Prize in Chamber Music, while simultaneously studying a degree in Piano under the direction of Guillermo González. Granted a scholarship by the Bank of Spain, she furthered her studies with Reimund Korupp and Reine Flachot, attending besides master classes with David Geringas and Mstislav Rostropovich. Later, she expanded her education completing courses in Musical Specialization of the University of Alcalá taught by Imre Rohmann. She then obtained her master’s degree on Musical Performance, with her research on the vibrato of string quartets.
In 1992, she won the prizes Andrés Segovia and José Miguel Ruiz Morales. In 2008, she was awarded the top Prize in the 7th Francisco Salzillo Chamber Music Award.
She has been part of several ensembles, such as the Latina Chamber Orchestra, the Reina Sofía Chamber Orchestra, the Prado Camerata, and the Iberoamerican Ensemble. She has collaborated with the Spanish Radio and Broadcast Symphony Orchestra and the Madrid Symphony Orchestra. As a soloist and a member of a variety of chamber music groups, she has offered concerts in numerous stages with great critical and public success. For example, she has played at the National Auditorium, the Monumental Theatre, the Juan March Foundation, the Canal Theatres, the Fine Arts Circle, the Conde Duque Auditorium, the Polytechnic University, the Autonomous University (all of them in Madrid), the Juan Bravo Theatre in Segovia, the Arriaga Theatre in Bilbao, the Central Theatre in Pontevedra, the Quijano Theatre in Ciudad Real, the Basilica of San Lorenzo de El Escorial, the López Torres Auditorium in Tomelloso, the La Merced Auditorium in Sanlúcar de Barrameda, the Andrés Isasi Auditorium in Getxo, or the Medinaceli Ducal Palace, to name a few.
Her performances at the II Cycle of Chamber Music of Navalmoral de la Mata (Cáceres), the VIII Nicomedes García Gómez Spanish Chamber Music Cycle of Segovia, the Madrid Coma’10 Festival, or the Contemporary Music International Festival FesTC 2011, illustrate her strong commitment to contemporary Spanish music.
In recent years, she has carried out an intense performing activity, as part of a duo with the pianist Martín Martín Acevedo, and as a member of the Dharma Trio.
She has participated in numerous recordings for the Spanish National Radio (RNE) and Television (TVE). Her most recent album is a CD untitled Dulces Sueños I, a collection of nursery songs for cello and piano.
She combines her activity as a performer with teaching. She has had a PhD in cello since 2017. She has been a professor in the Royal Conservatory of Madrid, and is currently a cello chair-professor in the Conservatorio Superior de Música Eduardo Martínez Torner.
Her instrument is a 1770 Francois Perain cello.
In 1992, she won the prizes Andrés Segovia and José Miguel Ruiz Morales. In 2008, she was awarded the top Prize in the 7th Francisco Salzillo Chamber Music Award.
She has been part of several ensembles, such as the Latina Chamber Orchestra, the Reina Sofía Chamber Orchestra, the Prado Camerata, and the Iberoamerican Ensemble. She has collaborated with the Spanish Radio and Broadcast Symphony Orchestra and the Madrid Symphony Orchestra. As a soloist and a member of a variety of chamber music groups, she has offered concerts in numerous stages with great critical and public success. For example, she has played at the National Auditorium, the Monumental Theatre, the Juan March Foundation, the Canal Theatres, the Fine Arts Circle, the Conde Duque Auditorium, the Polytechnic University, the Autonomous University (all of them in Madrid), the Juan Bravo Theatre in Segovia, the Arriaga Theatre in Bilbao, the Central Theatre in Pontevedra, the Quijano Theatre in Ciudad Real, the Basilica of San Lorenzo de El Escorial, the López Torres Auditorium in Tomelloso, the La Merced Auditorium in Sanlúcar de Barrameda, the Andrés Isasi Auditorium in Getxo, or the Medinaceli Ducal Palace, to name a few.
Her performances at the II Cycle of Chamber Music of Navalmoral de la Mata (Cáceres), the VIII Nicomedes García Gómez Spanish Chamber Music Cycle of Segovia, the Madrid Coma’10 Festival, or the Contemporary Music International Festival FesTC 2011, illustrate her strong commitment to contemporary Spanish music.
In recent years, she has carried out an intense performing activity, as part of a duo with the pianist Martín Martín Acevedo, and as a member of the Dharma Trio.
She has participated in numerous recordings for the Spanish National Radio (RNE) and Television (TVE). Her most recent album is a CD untitled Dulces Sueños I, a collection of nursery songs for cello and piano.
She combines her activity as a performer with teaching. She has had a PhD in cello since 2017. She has been a professor in the Royal Conservatory of Madrid, and is currently a cello chair-professor in the Conservatorio Superior de Música Eduardo Martínez Torner.
Her instrument is a 1770 Francois Perain cello.
Luis Magín Muñiz Bascón -Viola-
About me
I was born in Avilés. Some of my ancestors were into music too, within this background I began my musical studies, before entering the Oviedo Conservatory, where I undergraduated winning First Prize in viola performance and the Ángel Muñiz Toca Chamber Music Award, under the tutelage of Professor Wieslaw Rekucki. When I was nineteen, I took a fellowship with the Asturias Symphony Orchestra. A very influential person in my musical training during this period was Yuri Yurov, principal violist of the Orchestra of the Bolshoi Theatre and the Moscow Virtuosi. At the time I was accepted to pursue post graduated studies at Tchaikovsky conservatory in Moscow, under Fyodor Druzhinin, and at the Queen Sofía School in Madrid, under Daniel Benjamini.
Soon I joined the National Youth Orchestra of Spain, for about three years acting as principal violist, and there I met my beloved teacher Jesse Levine, who invited me to study at Yale University, where I completed a Master of Music and an Artist Diploma. I was conferred the Charles H. Ditson Award for my academic performance during my studies in the US. During my stay I received the influences and advice of great personalities, such as those of the Tokyo String Quartet, Luciano Berio, Krzysztof Penderecki, Kurt Masur, Jaap Schroeder and Nobuko Imai, among others.
When I returned to Spain, I worked as a freelancer at the Symphony Orchestra of Galicia, Principality of Asturias Symphony Orchestra, Philharmonic of Gran Canaria. I also participated in some competitions and was awarded several prizes: Rotary Club International, the silver medal at the International Competition Villa de Sahagún or the diploma d’onore at Torneo Internazionale di Musica. I have won auditions to become professor of viola at León Conservatory and for the A Coruña Conservatory, where I taught viola and conducted the Symphony Orchestra for six years.
In 2004 I moved back to Oviedo, where I started teaching at the Conservatorio Superior de Música del Principado de Asturias, in which I currently hold the viola chair. I live right at the beach in Salinas, with my wife and three children, Briard dog Galilea, border collie Mina and a Persian cat named Murphy. When I do not dedicate myself to music, I like to walk along the beach, hiking and skiing with family and friends.
Performing
Alongside my pedagogical skills, I have always been in contact with the stage, an essential condition for instrumental teaching in the most efficient way. At my time at the Yale Chamber Players, as principal violist of the Galician Chamber Orchestra, and principal violist of the Iberian Chamber Orchestra, I had the opportunity to record for Naxos, Audivis, Sony and Valois, as well as tours throughout Europe and the States. I have had the privilege of working with New Haven Symphony, OSA, OSPA, Gran Canaria Philharmonic, Symphony Orchestra of Galicia, and as guest principal violist of the Spanish Orchestra of Radio Television.
Chamber music has always been a passion for me, and I always look for the opportunity to interpret it, because in many cases it combines friendship with the quintessence of a pure musical act. Since the foundation at a previous stage of the Nersos String Quartet, or the Turina Quintet, with whom I have played in the best halls of the national arena: Juan March Foundation, National Auditorium, Musikaste; the Iberian Ensemble; until my most recent project, the Lidón Trio, with which I try to recover the Spanish chamber music legacy.
In the solo field, I have been given the world premiere of the Concerto for viola and orchestra by Salvador Brotons with the Iberian Chamber Orchestra; or the interpretation of the Fantasia for viola and wind instruments of Francisco Fleta Polo with the Symphonic Band of Barcelona, among performances with the OCGA, several orchestras in Asturias or the debut as soloist with the Youth National Orchestra of Spain. In the recent years I have recorded several CDs with works by spanish composers Arteaga, Alis, Fleta, Falla, Benejam, and performed in the USA, Denmark, Netherlands, UK and Spain, to great critical acclaim
Teaching
Viola teaching has been always being my passion, a fervour passed on to me by my mentors. Today, after a know-how experience close to twenty five years, there are many students who have passed through my classroom, some of them currently working professionally in orchestras in Spain and Germany; others serving as professors in different conservatories, or enjoying a fruitful international career as professional string quartet players.
I’ve been invited to teach at the JONDE and the JOSPA and to give master classes in various summer academies and festivals like the City of Astorga, Cangas de Onís, Covadonga String Academy, EuroArts Festival in Leipzig, and at the Conservatories of Ávila, Salamanca or A Coruña, among others. I have also taught at the Peabody School of Music, Michigan University, Florida University, Arizona State University, The American String Teachers Association, East Carolina University, Royal Nothern College of Music in Manchester, Birmingham Conservatoire, Aarhus Conservatory, Rotterdam Codarts, Groningen Conservatory, ESMAE in Oporto, Fundación Príncipe de Asturias and Forum Musikae.
I have organized a permanent intensive international summer academy. Apart from this, as past Secretary of the International Viola Society and President of the Spanish Viola Society, I have participated in committees for the development of important events to promote the instrument both national and internationally. I have had the privilege to be part in two editions as juror of the prestigious Primrose Competition, as well as in various viola competitions nationwide, such as the Llanes International Competition or the composition contest of the Festival de música española e iberoamericana de León, and have designed by commission of the government of Asturias, together with other colleagues, a rubric for the evaluation of performance practice, fully implemented .
My pedagogical principles are always addressed to meet the needs of the students. A complete and meaningful understanding of the mechanics of the instrument and an aesthetic culture of sound are essential to achieve the dimensions of today’s interpretative standards. “What?, how?, why?, and what for?” are the questions always present in instrumental playing, in its many variants. My role as pedagogue is to seek for answers in order to show them the way, and to accompany the students on the adventure during our time together until they can trace their own route, so they can get to express themselves in the most honest and natural way possible within this beautiful profession.
Research
After my studies in musicology at the University of Oviedo, I got a PhD with the thesis The Viola in Spain: The History of Its Teaching Through The Main Methods and Studies I created a performative research label, a platform to overturn new and interesting publications.
The first publication is the documentary «Treasures of Spanish music: the birth of the modern repertoire for the viola». Recently, I have completed the critical edition of some representative works of the Spanish repertoire, such as the Sonata for viola and piano accompaniment by Tomás Lestán, Manuel Sancho’s Solo for viola, José Luis Lloret Romanza, Bartolomé Pérez Casas Concourse, the Sonatina in C Mayor by Ángel Martín Pompey and the piece If dolphins died of love for three violas and voice by the same author. Before, I edited the Brunet Solo for violin, from the archives of the Oviedo Cathedral.
As a result of my research, I have come to publish articles for The Strad magazine and others specialized in pedagogy, such as DEDiCA, as part of the University of Coimbra publication service, and ISME, attached to the International Society of Music Education. I have been privileged to participate as a lecturer at various international conferences, such as those organized by the IVS in Phoenix, Rochester and Würzburg, as well in the conference of performative research held at the ESMUC in Barcelona, under the title «Interpreting the Iberian music of the XVIII century», with a lecture and concert of viola music at the Royal Chapel in Madrid. I am the author of two books: one is a biography of the Spanish composer Francisco Fleta Polo, and the other one is about the history of viola teaching in Spain and its methods.
Irina Moussatova
Born in Moscow, Irina Moussatova began her studies in the Ippolitov-Ivanov Music Academy and School, under D. Kaishauri and L. Fijtengolz’s tutelage. She graduated with honours from the Moscow State Tchaikovsky Conservatory, where she was G. Axelrod’s pupil.
She has been awarded several prizes as Piano accompanist in violin competitions of great international standing like Wieniawski (Lublin, 1979), David Oistrakh (Odessa, 1988), Louis Spohr (Freiburg, 1991), Pablo Sarasate (Pamplona, 1995), and three-time winner of the International Tchaikovsky Competition (Moscow, 1982, 1990 and 1994).
She has performed in several recitals with the renowned musicians Michael Kugel, Evgeny Altman, Igor Oistrakh, Nana Jashvili, Djenifer Koch, Walter Nothas, Yayoi Toda and the cellist Daniel Müller-Schott. She performed Schnittke´s Concerto Grosso with the Moscow State Chamber Orchestra.
She has been regularly invited to International Masterclasses and Festivals in Colmar (France) with master Vladímir Spivakov, in Spoletto (Italy), in Ost West Music Fest (Krems, Austria), as well as in Spanish cities such as Oviedo, Llanes, Sevilla, Madrid and Jaén.
In 1994 she was professor of chamber music at the Moscow State Tchaikovsky Conservatory. That same year, she formed the Duo Miris with her husband, the violinist Mikhail Spivak. Currently, Miris keeps on giving recitals and has recorded several discs.
In 1998 Mrs. Moussatova obtained a position as a professor of Piano accompanist repertoire at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo (Spain). This year, she performed together with the Trio Gauguin works by Spanish composers Granados, Turina, Castillo, and Ros.
As a pianist of Sonus Ensemble, Moussatova participated in the Asturias Summer Festival in 2005, a collaboration with Oviedo Filarmonia Orchestra musicians, performing Schubert and Brahms´s quintets, and a year later Schumann´s works.
She has been awarded several prizes as Piano accompanist in violin competitions of great international standing like Wieniawski (Lublin, 1979), David Oistrakh (Odessa, 1988), Louis Spohr (Freiburg, 1991), Pablo Sarasate (Pamplona, 1995), and three-time winner of the International Tchaikovsky Competition (Moscow, 1982, 1990 and 1994).
She has performed in several recitals with the renowned musicians Michael Kugel, Evgeny Altman, Igor Oistrakh, Nana Jashvili, Djenifer Koch, Walter Nothas, Yayoi Toda and the cellist Daniel Müller-Schott. She performed Schnittke´s Concerto Grosso with the Moscow State Chamber Orchestra.
She has been regularly invited to International Masterclasses and Festivals in Colmar (France) with master Vladímir Spivakov, in Spoletto (Italy), in Ost West Music Fest (Krems, Austria), as well as in Spanish cities such as Oviedo, Llanes, Sevilla, Madrid and Jaén.
In 1994 she was professor of chamber music at the Moscow State Tchaikovsky Conservatory. That same year, she formed the Duo Miris with her husband, the violinist Mikhail Spivak. Currently, Miris keeps on giving recitals and has recorded several discs.
In 1998 Mrs. Moussatova obtained a position as a professor of Piano accompanist repertoire at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo (Spain). This year, she performed together with the Trio Gauguin works by Spanish composers Granados, Turina, Castillo, and Ros.
As a pianist of Sonus Ensemble, Moussatova participated in the Asturias Summer Festival in 2005, a collaboration with Oviedo Filarmonia Orchestra musicians, performing Schubert and Brahms´s quintets, and a year later Schumann´s works.
María Begoña García Sánchez -voice-
Born in Gijón, María Begoña García-Tamargo began her studies at the Conservatorio Superior de Música Eduardo Martínez Torner, where she obtained the Professional Piano Diploma under the guidance of Purita de la Riva. She extended her musical training with Isabel Penagos at the Escuela Superior de Canto in Madrid, where she also obtained the Advanced Diploma in Singing.
Ms. García-Tamargo furthered her vocal training in Vienna with Irina Gavrilovici and with Marimí del Pozo in Madrid. Additionally, she holds a Diploma in Italian Culture and Language from the Italian Institute of Culture.
She has attended singing courses directed by Montserrat Caballé, Jaime Aragall, Alfredo Kraus, Helena Lazarska, and Dennis Hall; body expression courses with Marta Schinca, professor at the Real Escuela Superior de Arte Dramático, and Gigi Capobianco of the New York City Opera; and vocal repertoire with Félix Lavilla.
Ms. García-Tamargo took part in the VIII and XIXth International Music Courses at Casa de Mateus in Vila Real, Portugal, where she performed the Mozartian roles of First Lady, Papagena, Susanna, and Despina.
María Begoña García-Tamargo made her debut in Oviedo at the XLIVth Opera Festival in 1991 with La Traviata (Verdi) conducted by Bertrand de Billy, to great critical acclaim. In subsequent editions of this festival, she has performed other operas such as Lucia di Lammermoor by Donizetti, Il trovatore by Verdi, Faust by Gounod, Macbeth by Verdi, and Nabucco by Verdi.
Ms. García-Tamargo played the role of Amore in Gluck’s Orfeo ed Euridice with Lucia Valentini Terrani under the direction of Maestro Peter Maag. She took part in Ciléa’s Adriana Lecouvreur in the role of Mlle. Jouvenot with Raina Kabaivanska and the stage direction of Emilio Sagi. Furthermore, she performed the Gianetta from Donizetti’s L’elisir d’amore, conducted by Maestro Allemandi.
She made her debut in Madrid during the 1993 Opera Season at the Teatro de la Zarzuela with the opera Suor Angelica by Puccini, with Raina Kabaivanska, and conducted by Theo Alcántara.
Since 1993, she has sung in the Opera Seasons of the Palacio de Congresos, A Coruña; Teatro Arriaga, Bilbao; Palacio de Festivales, Santander; Teatro de la Zarzuela, Madrid; Auditorio de Santiago de Compostela; and Teatro Palacio Valdés, Avilés. She has performed in the productions of Verdi’s La traviata, Nabucco, Otello, and Macbeth; Arrieta’s Marina; Donizetti’s L’elisir d’amore; Tchaikovsky’s The Queen of Spades; Respighi’s La fiamma and Bellini’s I puritani, musically conducted by Miguel Ángel Gómez Martínez, Rafael Frühbeck de Burgos, Marco Armiliato, David Parry, Elena Herrera, Jorge Rubio, and on stage by Emilio Sagi, Horacio R. Aragón, Hugo de Ana, Francesco Privitera, Luis Iturri, Francisco López, Etelvino Vázquez and Gustavo Tambascio.
García-Tamargo took part in the Festivales de Teatro Lírico de Asturias in Bretón’s La verbena de la Paloma with Maestro Miguel Ortega, in Arrieta’s Marina with Odón Alonso and Jacinto Guerrero’s La rosa del azafrán with José Gómez.
Moreover, she participated as a soloist in the tributes paid by the XXXVIIIth Festival de Música Española de Santiago de Compostela to Maestros Toldrá and Fdez. Cid de Temes.
She premiered the Cantata de Réquiem for soprano, choir, and orchestra by Leoncio Diéguez, under the direction of Salvador Brotons and the Principality of Asturias Symphony Orchestra.
She took part in the Ciclo de Música Asturiana “Canciones de Dentro” organised by the Archivo de Música Asturiana.
She also performed in A Midsummer Night’s Dream by F. Mendelssohn, with the Principality of Asturias Symphony Orchestra, conducted by Maestro Max Valdés.
García-Tamargo sang Gloria by Vivaldi, with the Chamber Orchestra of the Principality of Asturias and the Choir of the Principality of Asturias, under the direction of Johannes Moesus. Besides, she has given the world premiere of the Colección de canciones líricas by the Asturian composer Mª Luisa Picardo, for voice and piano, accompanied by pianist Purita de la Riva.
Since 2002, she has formed a duo with pianist Olga Semushina, with performances at the Fundación Juan March in Madrid; the Teatro Filarmónica in Oviedo; the Ciclo de Navidad de Santander; the cycle of activities to celebrate the 50th anniversary of the Ateneo de Gijón; the Ciclo Oviedo es Música organised by Oviedo City Council; the Palace of Soñanes in Santander; the Ciclo de Música de Cámara organised by the Ministry of Culture of the Principality of Asturias; the Ciclo Música en el Río de Oro 2006; the IXth Conciertos de La Cuevona in Ribadesella; and the Ciclo de Música de Cámara, 2006, organised by the Ministry of Culture of the Principality of Asturias.
Since 1998, Mrs. García Tamargo has been a professor of singing at the Conservatorio Superior de Música Eduardo Martínez Torner, a position she combines with that of coordinator of the Europa Chor Akademie of the German University of Mainz in Spain. She is a member of the Patronage of Honour of the Asociación Asturiana de Amigos de la Ópera, the aAtistic Director of La Castalia Lyric Workshop, and the voice teacher for the Vocal Interpretation Workshops organised by the Vicerrectorado de Extensión Universitaria de Oviedo.
Ms. García-Tamargo furthered her vocal training in Vienna with Irina Gavrilovici and with Marimí del Pozo in Madrid. Additionally, she holds a Diploma in Italian Culture and Language from the Italian Institute of Culture.
She has attended singing courses directed by Montserrat Caballé, Jaime Aragall, Alfredo Kraus, Helena Lazarska, and Dennis Hall; body expression courses with Marta Schinca, professor at the Real Escuela Superior de Arte Dramático, and Gigi Capobianco of the New York City Opera; and vocal repertoire with Félix Lavilla.
Ms. García-Tamargo took part in the VIII and XIXth International Music Courses at Casa de Mateus in Vila Real, Portugal, where she performed the Mozartian roles of First Lady, Papagena, Susanna, and Despina.
María Begoña García-Tamargo made her debut in Oviedo at the XLIVth Opera Festival in 1991 with La Traviata (Verdi) conducted by Bertrand de Billy, to great critical acclaim. In subsequent editions of this festival, she has performed other operas such as Lucia di Lammermoor by Donizetti, Il trovatore by Verdi, Faust by Gounod, Macbeth by Verdi, and Nabucco by Verdi.
Ms. García-Tamargo played the role of Amore in Gluck’s Orfeo ed Euridice with Lucia Valentini Terrani under the direction of Maestro Peter Maag. She took part in Ciléa’s Adriana Lecouvreur in the role of Mlle. Jouvenot with Raina Kabaivanska and the stage direction of Emilio Sagi. Furthermore, she performed the Gianetta from Donizetti’s L’elisir d’amore, conducted by Maestro Allemandi.
She made her debut in Madrid during the 1993 Opera Season at the Teatro de la Zarzuela with the opera Suor Angelica by Puccini, with Raina Kabaivanska, and conducted by Theo Alcántara.
Since 1993, she has sung in the Opera Seasons of the Palacio de Congresos, A Coruña; Teatro Arriaga, Bilbao; Palacio de Festivales, Santander; Teatro de la Zarzuela, Madrid; Auditorio de Santiago de Compostela; and Teatro Palacio Valdés, Avilés. She has performed in the productions of Verdi’s La traviata, Nabucco, Otello, and Macbeth; Arrieta’s Marina; Donizetti’s L’elisir d’amore; Tchaikovsky’s The Queen of Spades; Respighi’s La fiamma and Bellini’s I puritani, musically conducted by Miguel Ángel Gómez Martínez, Rafael Frühbeck de Burgos, Marco Armiliato, David Parry, Elena Herrera, Jorge Rubio, and on stage by Emilio Sagi, Horacio R. Aragón, Hugo de Ana, Francesco Privitera, Luis Iturri, Francisco López, Etelvino Vázquez and Gustavo Tambascio.
García-Tamargo took part in the Festivales de Teatro Lírico de Asturias in Bretón’s La verbena de la Paloma with Maestro Miguel Ortega, in Arrieta’s Marina with Odón Alonso and Jacinto Guerrero’s La rosa del azafrán with José Gómez.
Moreover, she participated as a soloist in the tributes paid by the XXXVIIIth Festival de Música Española de Santiago de Compostela to Maestros Toldrá and Fdez. Cid de Temes.
She premiered the Cantata de Réquiem for soprano, choir, and orchestra by Leoncio Diéguez, under the direction of Salvador Brotons and the Principality of Asturias Symphony Orchestra.
She took part in the Ciclo de Música Asturiana “Canciones de Dentro” organised by the Archivo de Música Asturiana.
She also performed in A Midsummer Night’s Dream by F. Mendelssohn, with the Principality of Asturias Symphony Orchestra, conducted by Maestro Max Valdés.
García-Tamargo sang Gloria by Vivaldi, with the Chamber Orchestra of the Principality of Asturias and the Choir of the Principality of Asturias, under the direction of Johannes Moesus. Besides, she has given the world premiere of the Colección de canciones líricas by the Asturian composer Mª Luisa Picardo, for voice and piano, accompanied by pianist Purita de la Riva.
Since 2002, she has formed a duo with pianist Olga Semushina, with performances at the Fundación Juan March in Madrid; the Teatro Filarmónica in Oviedo; the Ciclo de Navidad de Santander; the cycle of activities to celebrate the 50th anniversary of the Ateneo de Gijón; the Ciclo Oviedo es Música organised by Oviedo City Council; the Palace of Soñanes in Santander; the Ciclo de Música de Cámara organised by the Ministry of Culture of the Principality of Asturias; the Ciclo Música en el Río de Oro 2006; the IXth Conciertos de La Cuevona in Ribadesella; and the Ciclo de Música de Cámara, 2006, organised by the Ministry of Culture of the Principality of Asturias.
Since 1998, Mrs. García Tamargo has been a professor of singing at the Conservatorio Superior de Música Eduardo Martínez Torner, a position she combines with that of coordinator of the Europa Chor Akademie of the German University of Mainz in Spain. She is a member of the Patronage of Honour of the Asociación Asturiana de Amigos de la Ópera, the aAtistic Director of La Castalia Lyric Workshop, and the voice teacher for the Vocal Interpretation Workshops organised by the Vicerrectorado de Extensión Universitaria de Oviedo.
Manuel Ballesteros Taboada -double bass-
Manuel Ballesteros has studied in Oviedo, Madrid, Barcelona, and Valencia with professors Richard Kukielka, Antonio García, Ferrán Sala, and Ludwig Streicher. He concluded his studies in Oviedo in 1990.
Among the orchestras he has played in, one can mention the Chamber Orchestra and Symphony Orchestra of the Oviedo and Gijón Conservatories, the Symphony Orchestra of the Principality of Asturias, Ciudad de Oviedo Orchestra, Millenium Orchestra (Gijón), Ciudad de León Orchestra, Julian Orbón Orchestra of Avilés, Young Symphony Orchestra of the Principality of Asturias, Magistralia Orchestra, Arché Chamber Orchestra, Moscow Virtuosi Orchestra, the trio Jazz de Cámara, and other chamber music ensembles.
In the course of his career as a performer, he has played in around three hundred concerts, including symphonic, chamber music, solo, folk music, operas, zarzuelas, jazz… working under the instructions of conductors such as Víctor Pablo Pérez, Benito Lauret, Pedro Halffter, Elena Herrera, etc, up to half a hundred.
Ballesteros is the founder of the group Jazz de Cámara, dedicated to the promotion of jazz music and specialising in the composer Claude Bolling, whose suites for various solo instruments and jazz trio have been performed in several tours.
He has participated in a dozen of recordings of different genres, as wide-ranging as Jazz, Symphonic, Choral, Folklore, and Lyrical.
He is the author of a book, El contrabajo: una visión integral (Trabe, 2004) about the double bass and all its aspects: technical, historical and biographical .
He has taught in courses on matters such as “Instrumental technique applied to Orchestra” (Albacete, 1990), “Choral-symphonic practice” (Cantabria, 1991), “Concertante orchestral practice” (Cantabria, 1992), “Big-Band working group” (Gijón, 1995-1996), and the “Magistralia courses”(Gijón, 2002, 2003, 2004, 2006).
He was professor of double bass at the Conservatory of Music in Gijón from 1989 to 2004, as well as being the secretary of the institution for eleven years.
Mr. Ballesteros is a currently professor of double bass at Conservatorio Superior de Música de Asturias and Artistic Coordinator of JOSPA (The Youth Symphony Orchestra of the Principality of Asturias).
Among the orchestras he has played in, one can mention the Chamber Orchestra and Symphony Orchestra of the Oviedo and Gijón Conservatories, the Symphony Orchestra of the Principality of Asturias, Ciudad de Oviedo Orchestra, Millenium Orchestra (Gijón), Ciudad de León Orchestra, Julian Orbón Orchestra of Avilés, Young Symphony Orchestra of the Principality of Asturias, Magistralia Orchestra, Arché Chamber Orchestra, Moscow Virtuosi Orchestra, the trio Jazz de Cámara, and other chamber music ensembles.
In the course of his career as a performer, he has played in around three hundred concerts, including symphonic, chamber music, solo, folk music, operas, zarzuelas, jazz… working under the instructions of conductors such as Víctor Pablo Pérez, Benito Lauret, Pedro Halffter, Elena Herrera, etc, up to half a hundred.
Ballesteros is the founder of the group Jazz de Cámara, dedicated to the promotion of jazz music and specialising in the composer Claude Bolling, whose suites for various solo instruments and jazz trio have been performed in several tours.
He has participated in a dozen of recordings of different genres, as wide-ranging as Jazz, Symphonic, Choral, Folklore, and Lyrical.
He is the author of a book, El contrabajo: una visión integral (Trabe, 2004) about the double bass and all its aspects: technical, historical and biographical .
He has taught in courses on matters such as “Instrumental technique applied to Orchestra” (Albacete, 1990), “Choral-symphonic practice” (Cantabria, 1991), “Concertante orchestral practice” (Cantabria, 1992), “Big-Band working group” (Gijón, 1995-1996), and the “Magistralia courses”(Gijón, 2002, 2003, 2004, 2006).
He was professor of double bass at the Conservatory of Music in Gijón from 1989 to 2004, as well as being the secretary of the institution for eleven years.
Mr. Ballesteros is a currently professor of double bass at Conservatorio Superior de Música de Asturias and Artistic Coordinator of JOSPA (The Youth Symphony Orchestra of the Principality of Asturias).
Alexei Mijlin Grodensky -violin-
Alexei Mijlin Grodensky is a Emeritus Artist from Russia. Born in Minsk, into a family of musicians, he began violin classes in Lvov and later at the Central School of the Moscow Tchaikovsky Conservatory. He entered the Moscow State Tchaikovsky Conservatory under the tutelage of professor B. Belenki, and then postgraduate studies with Professor David Oistrakh.
Mr. Mijlin is the winner of the Grand Prize and Gold Medal of the Queen Elisabeth Competition, and Medal of the Eugène Ysayë Foundation in Belgium.
He has performed as a soloist in the former USSR, Poland, Iran, Bulgaria, Germany, The Netherlands, Portugal, France, Czechoslovakia, Cuba, etc, with many of the world’s major orchestras and conductors — Ozawa, Kine, Cluitens, Rozhdestvensky, etc.
He has recorded for Moscow Radio and several discs for the Melodya label.
He has worked as a professor of violin at the Gnesin Russian Academy of Music, in Moscow, as well as taught in International Music Masterclasses and Courses for advanced players.
Many of his former students stand out as winners of international and national competitions (Paris, Pamplona, Ávila, Evian…).
Since 1990 Prof. Mijlin has settled himself in Asturias, Spain, by initiative of the Prince of Asturias Foundation, as a member of the Moscow Virtuosi Chamber Orchestra, and as professor of violin at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
Mr. Mijlin is the winner of the Grand Prize and Gold Medal of the Queen Elisabeth Competition, and Medal of the Eugène Ysayë Foundation in Belgium.
He has performed as a soloist in the former USSR, Poland, Iran, Bulgaria, Germany, The Netherlands, Portugal, France, Czechoslovakia, Cuba, etc, with many of the world’s major orchestras and conductors — Ozawa, Kine, Cluitens, Rozhdestvensky, etc.
He has recorded for Moscow Radio and several discs for the Melodya label.
He has worked as a professor of violin at the Gnesin Russian Academy of Music, in Moscow, as well as taught in International Music Masterclasses and Courses for advanced players.
Many of his former students stand out as winners of international and national competitions (Paris, Pamplona, Ávila, Evian…).
Since 1990 Prof. Mijlin has settled himself in Asturias, Spain, by initiative of the Prince of Asturias Foundation, as a member of the Moscow Virtuosi Chamber Orchestra, and as professor of violin at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
José Rodrigo Roglá -horn-
He pursued his musical studies at the Conservatorio Superior de Música in Valencia under the guidance of professor José Rosell.
He took courses to perfect his instrumental technique with professors such as M. Höltzel in Salzburg, A. Haltead in London, and Vicente Zarzo in Valencia.
Prof. Roglá has extensive experience in chamber music as he was a member of the CIUM wind quintet, among others. At present, he is a member of the Tempus wind quartet, of which he is the founder member, as well as of the ACM group.
He has collaborated with several national orchestras such as the National Orchestra of Spain, the City of Granada Orchestra, the Gran Canaria Philharmonic Orchestra, and the Euskadi Symphony Orchestra, among others.
He has been a collaborator teacher of the Principality of Asturias Youth Orchestra (JOSPA) and of the Magistralia Foundation courses.
Mr. Rodrigo Roglá has been a horn soloist with the Asturias Symphony Orchestra and co-principal horn of the Principality of Asturias Symphony Orchestra and is currently a professor of horn at the Conservatorio Superior de Música Eduardo Martínez Torner, a position he combines with teaching at the Conservatorio Municipal de Música Julián Orbón.
He took courses to perfect his instrumental technique with professors such as M. Höltzel in Salzburg, A. Haltead in London, and Vicente Zarzo in Valencia.
Prof. Roglá has extensive experience in chamber music as he was a member of the CIUM wind quintet, among others. At present, he is a member of the Tempus wind quartet, of which he is the founder member, as well as of the ACM group.
He has collaborated with several national orchestras such as the National Orchestra of Spain, the City of Granada Orchestra, the Gran Canaria Philharmonic Orchestra, and the Euskadi Symphony Orchestra, among others.
He has been a collaborator teacher of the Principality of Asturias Youth Orchestra (JOSPA) and of the Magistralia Foundation courses.
Mr. Rodrigo Roglá has been a horn soloist with the Asturias Symphony Orchestra and co-principal horn of the Principality of Asturias Symphony Orchestra and is currently a professor of horn at the Conservatorio Superior de Música Eduardo Martínez Torner, a position he combines with teaching at the Conservatorio Municipal de Música Julián Orbón.
Manuel Martínez Burgos
Manuel Martínez Burgos (Madrid, 1970) followed his primary and secondary studies at the British institution Kensington School and his music studies in his hometown at the Royal Conservatory of Music. He obtained five degrees in Composition, Orchestra Conducting, Guitar, Pedagogy and Musicology as well as the Graduation Prize Jacinto Guerrero Foundation (1996). He later broaden his training in Germany at the International Courses of New Music (Darmstadt) with K. Stockhausen, W. Rihm and K. Huber, in New York, with Milton Babbitt and in Paris, where he attended the IRCAM courses – Centre Pompidou.
He holds a Ph.D. in History and Music from the Autonomous University of Madrid (2004), where he obtained the Extraordinary Doctorate Award for his thesis on the composition technique of Isaac Albéniz. Martinez Burgos also published the first revised edition of the Catalan composer posthumous work, Azulejos, edited in 2005. He was awarded a second doctorate at the University of Oxford (2020) for his research into the usage of prosody as a resource in music composition.
Having obtained 20 national and international distinctions, Martínez Burgos is the most awarded Spanish composer of his generation. He has been awarded the following first prizes in international composition contests:
• First Prize at the Osgood Memorial of the University of Oxford (Oxford, 2017)
• First Andrés Gaos Prize (La Coruña, 2017)
• First Prize of the Grazyna Bacewicz International Composition Contest. (Poland, 2015).
• First and Third Prize of the III International Composition Competition Fundación BBVA-Auditorio Nacional (Madrid, 2012).
• First Prize Eulalio Ferrer (Mexico, 2011) of the Cervantina Society of Mexico.
• First Isang Yun Award for symphony orchestra (Seoul, 2009).
• First Prize Villa de Madrid (Madrid, 2006).
• First Symphonic-Coral Santander Award 250 years (Santander, 2005).
• First Prize Frederic Mompou (Barcelona, 2000).
He holds a Ph.D. in History and Music from the Autonomous University of Madrid (2004), where he obtained the Extraordinary Doctorate Award for his thesis on the composition technique of Isaac Albéniz. Martinez Burgos also published the first revised edition of the Catalan composer posthumous work, Azulejos, edited in 2005. He was awarded a second doctorate at the University of Oxford (2020) for his research into the usage of prosody as a resource in music composition.
Having obtained 20 national and international distinctions, Martínez Burgos is the most awarded Spanish composer of his generation. He has been awarded the following first prizes in international composition contests:
• First Prize at the Osgood Memorial of the University of Oxford (Oxford, 2017)
• First Andrés Gaos Prize (La Coruña, 2017)
• First Prize of the Grazyna Bacewicz International Composition Contest. (Poland, 2015).
• First and Third Prize of the III International Composition Competition Fundación BBVA-Auditorio Nacional (Madrid, 2012).
• First Prize Eulalio Ferrer (Mexico, 2011) of the Cervantina Society of Mexico.
• First Isang Yun Award for symphony orchestra (Seoul, 2009).
• First Prize Villa de Madrid (Madrid, 2006).
• First Symphonic-Coral Santander Award 250 years (Santander, 2005).
• First Prize Frederic Mompou (Barcelona, 2000).
Likewise, the next distinctions also deserve special mention:
• Second Prize K. Serocki (Poland, 2017).
• Second Prize of the International Composition Competition Jean Sibelius (Finland, 2015).
• Second Matching-Arts Award, (Utrecht, 2012).
• Second Prize of the Grazyna Bacewicz International Composition Contest. Academy of Music in Lodz (Poland, 2012).
• Second Prize of the II International Composition Competition Fundación BBVA-Auditorio Nacional (Madrid, 2011).
• Second Prize Dimitri Mitropoulos International Competition (Athens, 2009).
• Shortlisted in the Shipley Arts Festival (United Kingdom, 2010).
• Shortlisted in the Uuno Klami Composition Competition (Finland, 2009)
• Finalist in the Jeunesses Musicales Competition (Bucharest, 2006).
• Finalist of the First Contest of Coral Composition of RTVE (Madrid, 2000).
• Finalist of the Jurgenson Composition Contest of the Tchaikovsky Conservatory (Moscow, 2000).
Jury members at these competitions, composers such as Helmut Lachenmann, Tristan Murail, Unsuk Chin, Edith Canat de Chizy, Gilbert Amy, Kaija Saariaho or Harrison Birtwistle, have all praised Martinez Burgos compositions as being sound universes full of expressive power, coherence and imagination.
His works have been performed by prestigious ensembles, such as the Oxford Philharmonic, National Orchestra of Spain, the Radio Spanish Television Orchestra, the Seoul Philharmonic Orchestra (Korea), the Arthur Rubinstein Philharmonic (Poland), the Kymi Sinfonietta (Finland), the LIM and Enigma groups, the soloists of the Madrid Symphony Orchestra, or the Studio for New Music of Moscow. His compositions have been recorded by the RTVE label and the BBVA Foundation label.
Martinez Burgos’ interest in the study of different languages and, in particular, in classical languages, leads him to study Philology at the National Distance University (UNED). Prosody and communication are thus recurring themes in his aesthetic universe.
From a very young age he has combined his compositional activities with his teaching and research work. In 2001 he was selected in Spain as number one of the competition for conservatory teachers in the specialty of Composition Fundamentals. From 2001 to 2016 he has been professor at the Royal Higher Conservatory of Madrid, an institution where has also been assistant director for three years. In 2017 he obtains the position of chairman in composition at the Higher Conservatory of Music of the Principality of Asturias (Spain). He has given lectures in prestigious musical institutions such as the Sibelius Academy in Helsinki, the Chopin University in Warsaw, or the Tchaikovsky Conservatory in Moscow. He has also been Erasmus professor at the National Higher Conservatory of Paris (CNSMD), visiting scholar at the University of Cambridge and is currently tutor in composition at the University of Oxford (St Anne’s College).
One of the greatest successes of Martínez Burgos in the UK was the orchestral composition commissioned by the Oxford Philharmonia to commemorate the 500th anniversary of Leonardo da Vinci.
https://www.manuelmartinezburgos.com
https://www.universaledition.com/manuel-martinez-burgos-8158
• Second Prize K. Serocki (Poland, 2017).
• Second Prize of the International Composition Competition Jean Sibelius (Finland, 2015).
• Second Matching-Arts Award, (Utrecht, 2012).
• Second Prize of the Grazyna Bacewicz International Composition Contest. Academy of Music in Lodz (Poland, 2012).
• Second Prize of the II International Composition Competition Fundación BBVA-Auditorio Nacional (Madrid, 2011).
• Second Prize Dimitri Mitropoulos International Competition (Athens, 2009).
• Shortlisted in the Shipley Arts Festival (United Kingdom, 2010).
• Shortlisted in the Uuno Klami Composition Competition (Finland, 2009)
• Finalist in the Jeunesses Musicales Competition (Bucharest, 2006).
• Finalist of the First Contest of Coral Composition of RTVE (Madrid, 2000).
• Finalist of the Jurgenson Composition Contest of the Tchaikovsky Conservatory (Moscow, 2000).
Jury members at these competitions, composers such as Helmut Lachenmann, Tristan Murail, Unsuk Chin, Edith Canat de Chizy, Gilbert Amy, Kaija Saariaho or Harrison Birtwistle, have all praised Martinez Burgos compositions as being sound universes full of expressive power, coherence and imagination.
His works have been performed by prestigious ensembles, such as the Oxford Philharmonic, National Orchestra of Spain, the Radio Spanish Television Orchestra, the Seoul Philharmonic Orchestra (Korea), the Arthur Rubinstein Philharmonic (Poland), the Kymi Sinfonietta (Finland), the LIM and Enigma groups, the soloists of the Madrid Symphony Orchestra, or the Studio for New Music of Moscow. His compositions have been recorded by the RTVE label and the BBVA Foundation label.
Martinez Burgos’ interest in the study of different languages and, in particular, in classical languages, leads him to study Philology at the National Distance University (UNED). Prosody and communication are thus recurring themes in his aesthetic universe.
From a very young age he has combined his compositional activities with his teaching and research work. In 2001 he was selected in Spain as number one of the competition for conservatory teachers in the specialty of Composition Fundamentals. From 2001 to 2016 he has been professor at the Royal Higher Conservatory of Madrid, an institution where has also been assistant director for three years. In 2017 he obtains the position of chairman in composition at the Higher Conservatory of Music of the Principality of Asturias (Spain). He has given lectures in prestigious musical institutions such as the Sibelius Academy in Helsinki, the Chopin University in Warsaw, or the Tchaikovsky Conservatory in Moscow. He has also been Erasmus professor at the National Higher Conservatory of Paris (CNSMD), visiting scholar at the University of Cambridge and is currently tutor in composition at the University of Oxford (St Anne’s College).
One of the greatest successes of Martínez Burgos in the UK was the orchestral composition commissioned by the Oxford Philharmonia to commemorate the 500th anniversary of Leonardo da Vinci.
https://www.manuelmartinezburgos.com
https://www.universaledition.com/manuel-martinez-burgos-8158
Fernando López Blanco
Born in León (Spain) in 1972, Fernando Lόpez-Blanco began his music studies in the Municipal Conservatory of Music in León specializing in piano where he graduated with honors. Years later, he continued his studies in Oviedo at the Conservatorio Superior de Música “Eduardo Martínez Torner” obtaining the Degree of instructor in several specialities: Piano, Solfège, Theory, Transposition & Accompanying, Harmony, Counterpoint, Composition and Instrumentation.
In addition to his formal music education, he has taken classes in composition and conducting with world renowned composers and conductors including Cristóbal Halffter, Guy Reibel, Yizhar Sadai, and George Benjamin.
His symphonic and chamber music compositions have been performed in places such as The Municipal Auditorium in León, the Teatro Campoamor in Oviedo and Teatro Bergidum in Ponferrada. These works stand out as his most relevant ones: Catarsis a Sonatina for piano, a Suite para Orquesta (Suite for Orchestra), a quintet Allegro y Canciόn (Allegro and Song), a concert for piano and orchestra Heliconio, a symphony Magerit, the Sonata Onirica (Oniric) for alto saxophone and piano recorded in a CD entitled Saxofonia (produced by the Festival of Spanish Music of Leon), the septet Regnalf, awarded Second Prize in the Second Contest of Composition organized by the cultural association “Apoyo a la Creacion Musical de Asturias” (Support to Music creation in Asturias)
From 1997 to 2004 he taught at the Music Conservatory Cristóbal Halffter in Ponferrada (Leόn) where he was also in charge of its Orchestra and Choir while conducting the Music Band of the City of Ponferrada and the Flores del Sil Polyphonic Choir.
From January 2004 professor López Blanco has been teaching in the department of Composition at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
Finally, in 2006 he obtained the first place after a public examination for a tenure position as teacher of Fundamentals of Composition in Oviedo.
In 2011, he obtained the Certificate-Diploma of Advanced Studies (DEA) within the Music Program in Contemporary Spain (interuniversity) (Mention of quality), at the University of Oviedo.
In 2014 he won an award for his work Amicitia in the 8th edition of the Amadeus International Choral Composition Contest. Since July 2014, he has been the Head of Studies of Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo. In June 2015 he obtained the title of Doctor Cum Laude from the University of Oviedo, after reading his Doctoral Thesis entitled Ángel Barja (1938-1987). Analysis of his musical work.
In 2019, Dr. López Blanco obtains the professor-chair of composition at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
In addition to his formal music education, he has taken classes in composition and conducting with world renowned composers and conductors including Cristóbal Halffter, Guy Reibel, Yizhar Sadai, and George Benjamin.
His symphonic and chamber music compositions have been performed in places such as The Municipal Auditorium in León, the Teatro Campoamor in Oviedo and Teatro Bergidum in Ponferrada. These works stand out as his most relevant ones: Catarsis a Sonatina for piano, a Suite para Orquesta (Suite for Orchestra), a quintet Allegro y Canciόn (Allegro and Song), a concert for piano and orchestra Heliconio, a symphony Magerit, the Sonata Onirica (Oniric) for alto saxophone and piano recorded in a CD entitled Saxofonia (produced by the Festival of Spanish Music of Leon), the septet Regnalf, awarded Second Prize in the Second Contest of Composition organized by the cultural association “Apoyo a la Creacion Musical de Asturias” (Support to Music creation in Asturias)
From 1997 to 2004 he taught at the Music Conservatory Cristóbal Halffter in Ponferrada (Leόn) where he was also in charge of its Orchestra and Choir while conducting the Music Band of the City of Ponferrada and the Flores del Sil Polyphonic Choir.
From January 2004 professor López Blanco has been teaching in the department of Composition at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
Finally, in 2006 he obtained the first place after a public examination for a tenure position as teacher of Fundamentals of Composition in Oviedo.
In 2011, he obtained the Certificate-Diploma of Advanced Studies (DEA) within the Music Program in Contemporary Spain (interuniversity) (Mention of quality), at the University of Oviedo.
In 2014 he won an award for his work Amicitia in the 8th edition of the Amadeus International Choral Composition Contest. Since July 2014, he has been the Head of Studies of Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo. In June 2015 he obtained the title of Doctor Cum Laude from the University of Oviedo, after reading his Doctoral Thesis entitled Ángel Barja (1938-1987). Analysis of his musical work.
In 2019, Dr. López Blanco obtains the professor-chair of composition at the Conservatorio Superior de Música Eduardo Martínez Torner in Oviedo.
Manuel Martínez Burgos
Manuel Martínez Burgos (1970) realiza sus estudios generales en el colegio británico Kensington School y los estudios musicales en el Real Conservatorio Superior de Música de Madrid, obteniendo cinco títulos superiores en Composición, Dirección de Orquesta, Guitarra, Pedagogía y Musicología así como el premio fin de carrera de Fundación Jacinto Guerrero (1996). Posteriormente amplía su formación en Alemania en los Cursos Internacionales de Nueva Música (Darmstadt) con K. Stockhausen, W. Rihm y K. Huber, en Nueva York, donde recibe los consejos de Milton Babbitt y en París, asistiendo a los cursos del IRCAM – Centre Pompidou. Es Doctor en Música por la Universidad de Oxford (2020), donde realiza una investigación sobre el uso de la prosodia en la composición. Dicho doctorado fue otorgado, a su vez, por la trayectoria artística realizada entre los años 2015-20. Igualmente, Martínez Burgos es Doctor en Historia y Ciencias de la Música por la Universidad Autónoma de Madrid (2004) obteniendo el Premio Extraordinario de Doctorado por su tesis sobre la técnica compositiva de Isaac Albéniz. Suya es también la edición revisada de la obra póstuma del compositor catalán, Azulejos, editada en 2005.
Es el compositor español más premiado de su generación en concursos, habiendo obtenido 20 distinciones nacionales e internacionales. Entre los primeros premios de composición destacan:
- Primer Premio en el Osgood Memorial de la Universidad de Oxford (Oxford, 2017)
• Primer Premio Andrés Gaos (La Coruña, 2017)
• Primer Premio del Concurso Internacional de Composición Grazyna Bacewicz. (Polonia, 2015).
• Primer y tercer premio del III Concurso Internacional de Composición Fundación BBVA-Auditorio Nacional (Madrid, 2012).
• Primer premio Eulalio Ferrer (México, 2011) de la Sociedad Cervantina de México.
• Primer premio Isang Yun para orquesta sinfónica (Seúl, 2009).
• Primer premio Villa de Madrid (Madrid, 2006).
• Primer premio Sinfónico-Coral Santander 250 años (Santander, 2005).
• Primer premio Frederic Mompou (Barcelona, 2000).
Merecen también especial mención los siguientes galardones y menciones:
- Segundo Premio K. Serocki (Polonia, 2017).
• Segundo Premio del Concurso Internacional de Composición Jean Sibelius (Finlandia, 2015).
• Segundo Premio Matching-Arts, (Utrecht, 2012).
• Segundo Premio del Concurso Internacional de Composición Grazyna Bacewicz. Academy of Music in Lodz (Polonia, 2012).
• Segundo premio del II Concurso Internacional de Composición Fundación BBVA-Auditorio Nacional (Madrid, 2011).
• Segundo premio Concurso Internacional Dimitri Mitropoulos (Atenas, 2009).
• Recomendado en el Shipley Arts Festival (Reino Unido, 2010).
• Recomendado en el Uuno Klami Composition Competition (Finlandia, 2009)
• Finalista en el Concurso Jeunesses Musicales (Bucarest, 2006).
• Finalista del Primer Concurso de Composición Coral de RTVE (Madrid, 2000).
• Finalista del Jurgenson Composition Contest del Conservatorio Tchaikovsky (Moscú, 2000).
En los jurados de estos galardones compositores de prestigio internacional como Helmut Lachenmann, Tristan Murail, Unsuk Chin, Edith Canat de Chizy, Gilbert Amy, Kaija Saariaho o Harrison Birtwistle han valorado su obra como un universo sonoro pleno de fuerza expresiva, coherencia e imaginación.
Sus obras han sido interpretadas y grabadas por prestigiosas formaciones, tanto nacionales como internacionales, entre las que cabe mencionar la Oxford Philharmonic, Orquesta Nacional de España, Orquesta de Radio Televisión Española, Seoul Philharmonic Orchestra (Corea), Arthur Rubinstein Philharmonic (Polonia), Kymi Sinfonietta (Finlandia), los grupos LIM y Enigma, los solistas de la Orquesta Sinfónica de Madrid, los BBC singers o el Studio for New Music de Moscú. Ha grabado para el sello de RTVE y la Fundación BBVA.
El interés por el estudio de diferentes lenguas en general y, en particular, por las lenguas clásicas le conduce a cursar estudios de Filología en la Universidad Nacional de Educación a Distancia (UNED), siendo la prosodia y la comunicación un tema recurrente en su universo estético.
Desde muy joven ha compaginado su labor compositiva e investigadora con su labor docente, siendo funcionario de carrera número uno de su oposición en la especialidad de Fundamentos de Composición. Desde 2001 hasta 2016 fue profesor en el Real Conservatorio Superior de Madrid, institución de la cual fue a su vez vicedirector durante tres años. En 2017 obtiene por concurso la plaza de catedrático del Conservatorio Superior de Música del Principado de Asturias. Ha impartido conferencias sobre su música en prestigiosos centros musicales tales como la Sibelius Academy de Helsinki, la Chopin University en Varsovia, o el Conservatorio Tchaikovsky de Moscú. Asimismo ha sido profesor Erasmus en el Conservatorio Superior Nacional de Paris (CNSMD), profesor visitante en la Universidad de Cambridge y en la actualidad es profesor tutor en la Universidad de Oxford (St Anne’s College).
https://www.universaledition.com/manuel-martinez-burgos-8158
María Begoña García Sánchez
Nace en Gijón (Asturias). Inicia sus estudios en el Conservatorio Superior de Música de Oviedo, obteniendo el Título Profesional de Piano con la maestra Purita de la Riva. En Madrid amplía su formación musical en la Escuela Superior de Canto con Isabel Penagos, obteniendo además el Título Superior de Canto en el Conservatorio Superior de Música de Madrid. Perfeccionó su formación vocal en Viena con Irina Gavrilovici y en Madrid con Marimí del Pozo. Es Diplomada Superior de Lengua y Cultura Italiana por el Instituto Italiano de Cultura. Ha participado en Cursos de Canto dirigidos por Montserrat Caballé, Jaime Aragall, Alfredo Kraus, Helena Lazarska y Dennis Hall; de Expresión Corporal con Marta Schinca, profesora de la Escuela de Arte Dramático de Madrid, yGigi Capobianco de la Opera de Nueva York; y de Repertorio Vocal con Félix Lavilla. Participa en los VIII y XIX Cursos Internacionales “Da Casa de Mateus” en Vila Real (Portugal), interpretando los roles mozartianos de “Primera Dama”, “Papagena”, “Susanna” y “Despina”. Debuta en Oviedo en el XLIV Festival de Opera de 1.991, interviniendo en “La Traviata” (Verdi), bajo la dirección de Bertrand de Billy, obteniendo un gran éxito de crítica. En sucesivos años ha cantado en este Festival en las óperas “Lucia de Lammermoor” (Donizetti), “Il Trovatore” (Verdi), “Fausto” (Gounod), “Macbeth” (Verdi), “Nabucco” (Verdi). Interpreta a “Amore” en ”Orfeo ed Euridice” (Gluck), con Lucia Valentini Terrani y dirigida por el maestro Peter Maag. Interviene en “Adriana Lecouvreur” (Ciléa) en el papel de “Mad.lle. Jouvenot” junto a Raina Kabaivanska y dirección de Emilio Sagi. Canta la “Giannetta” de “L’elisir d’amore” (Donizetti), conducida por el maestro Allemandi. Debuta en Madrid en la Temporada de Opera de 1.993 del Teatro de la Zarzuela, con “Suor Angelica” (Puccini), junto a Raina Kabaivanska y dirección de Theo Alcántara. Desde 1993 ha cantado en las Temporadas de Opera de La Coruña- Palacio de Congresos, Bilbao-Teatro Arriaga, Santander – Palacio de Festivales, Madrid – Teatro de la Zarzuela, Auditorio de Santiago de Compostela, Teatro Palacio Valdés de Avilés, en las producciones de “Traviata” (Verdi), “Macbeth” (Verdi), “Marina” (Arrieta), “L’elisir d’amore” (Donizetti), “Nabucco” (Verdi),”Dama de Picas” (Chaikovski), “La Fiamma” (Respighi), “I Puritani” (Bellini), “Otello” (Verdi), dirigida musicalmente por Miguel Ángel Gómez Martínez, Rafael Frühbeck de Burgos, Marco Armiliato, David Parry, Elena Herrera, Jorge Rubio, y escénicamente por Emilio Sagi, Horacio R. Aragón, Hugo de Ana, Francesco Privitera, Luis Iturri, Francisco López, Etelvino Vázquez y Gustavo Tambascio. Interviene en los Festivales de Teatro Lírico de Asturias con “La Verbena de la Paloma” (Bretón) con el maestro Miguel Ortega,en “Marina” (Arrieta) junto a Odón Alonso, en “La Rosa del Azafrán” (Jacinto Guerrero) con José Gómez. Participa como solista en los homenajes que el XXXVIII Festival de Música Española de Santiago de Compostela rinde a los Maestros Toldrá yFdez. Cid de Temes. Estrena con gran éxito, la “Cantata de Réquiem”, para Soprano, coro y orquesta de Leoncio Diéguez, bajo la dirección de Salvador Brotons y la Orquesta Sinfónica de Asturias. Participa en el Ciclo de Música Asturiana “Canciones de dentro”, organizado por el Archivo de Música de Asturias. Interviene en “El sueño de una noche de verano”, de F. Mendelssohn, con la Orquesta Sinfónica del Principado de Asturias, y dirección del maestro Max Valdés. Canta el “Gloria” de Vivaldi, con la Orquesta de Cámara del Principado de Asturias y el Coro del Principado de Asturias, bajo la dirección de Johannes Moesus. Realizó el estreno absoluto de la “Colección de Canciones Líricas”, de la compositora asturiana Mª Luisa Picardo, para voz y piano, acompañada por la pianista Purita de la Riva. Desde 2002 forma dúo estable con la pianista Olga Semouchina, interviniendo en la “Fundación Juan March” de Madrid; Teatro Filarmónica de Oviedo (Sociedad Filarmónica de Oviedo); en el Ciclo de Navidad de Santander; en el ciclo de actividades con motivo de la celebración del 50 aniversario del Ateneo de Gijón (Palacio de Revillagigedo); en el ciclo “Oviedo es Música” organizado por el Ayuntamiento de Oviedo; Palacio de Soñanes de Santander; “Ciclo de Música de Cámara 2005” de la Consejería de Cultura del Principado de Asturias (Claustro de la Universidad); “Ciclo Música en el Río de Oro 2006”; “IX Conciertos de la Cuevona” (Ribadesella);“Ciclo de Música de Cámara 2006” de la Consejería de Cultura del Principado de Asturias. Desde 1998 es Profesora de Canto del Conservatorio Superior de Música “Eduardo Martínez Torner” de Oviedo. Además es Coordinadora en España de la “Europa Chor Akademie” de la Universidad de Maïnz (Alemania), miembro del Patronato de Honor de la Asociación Asturiana de Amigos de la Ópera, Directora Artística del Taller Lírico “La Castalia” y Profesora de Canto de los Talleres de Interpretación Vocal organizados por el Vicerrectorado de Extensión Universitaria de Oviedo.
Miguel Bobo de la Peña
Inicia sus estudios musicales en Zamora, con Miguel Manzano, y los prosigue en Zaragoza, con Luis Suelves, y después en Salamanca, con Luis Martín Diego. Obtiene el título de Profesor Superior de Guitarra, con Mención Honorífica, en el Real Conservatorio Superior de Música de Madrid (1989), trabajando con los profesores Antonio Ruiz Berjano y José Luis Rodrigo. Realiza cursos de perfeccionamiento con José Tomás, Gerardo Arriaga (cursos 1988/89 a 1993/94), y con José Miguel Moreno, de música antigua (Madrid, curso 1988/89). Estudia música contemporánea con Roberto Aussel en París (1991/92), becado por la Junta de Andalucía (“Música y Danza: Estudios de perfeccionamiento”, Resolución de 10/12/91 [BOJA de 27/12/91]).
Ha obtenido una Medaille d’Argent en Guitarre Classique Supérieur (Union des Conservatoires du Val de Marne, 1991/92) y el 3er Premio en el XXI Concurso Internacional de Guitarra “Fernando Sor” (Roma, 1992). Ha realizado conciertos como solista o con distintas agrupaciones de cámara.
Ha sido Profesor de Guitarra en el Conservatorio “Manuel de Falla” de Cádiz (1989/90 y 1990/91) y, por oposición, en el Conservatorio Profesional de Gijón (1992/93 a 2016/17). En la actualidad es Catedrático de Guitarra, por concurso de méritos, en el Conservatorio Superior de Oviedo (2017/18-).
Es Licenciado en Filología Clásica (Universidad de Oviedo, 1999), con Premio Extraordinario de Fin de Carrera (“Premio Clarín” de la Facultad de Filología), y Licenciado de Grado en Filología Clásica (Universidad de Oviedo, 2002), con la tesina “Claudio Tolomeo y la teoría musical griega: El tratado de Harmonía”, dirigida por la Dra. Lucía Rodríguez-Noriega Guillén, que obtuvo la calificación de Sobresaliente y Premio Extraordinario de Licenciatura (Oviedo, curso 2001/02), y el Premio Pastor 2002 para Memorias de Licenciatura, de la Fundación Pastor de Estudios Clásicos (Madrid, 2002).
Doctor en Filología Clásica (Universidad de Oviedo, 2016), su tesis, titulada “La música griega en el Comentario a la ‘Harmonía’ de Tolomeo de Porfirio”, dirigida por la Dra. Lucía Rodríguez-Noriega Guillén, fue calificada con Sobresaliente cum laude, y Mención honorífica en los “Premios Pastor 2016 de Tesis Doctorales” de la Fundación Pastor de Estudios Clásicos. Para la realización del estudio preliminar y la traducción y comentario de la obra de Porfirio disfrutó de una Licencia por Estudios (curso 2003/04), concedida por la Consejería de Educación del Principado de Asturias (Resolución de 11/07/2003 [BOPA 04/08/2003]).
Ha participado en el proyecto de investigación Estudios sobre la lengua de los cómicos griegos fragmentarios del s. V (II), financiado por el Plan Nacional de I+D+i (ref. FFI2008-01720/FILO; investigadora principal: Dra. Lucía Rodríguez-Noriega Guillén), a cargo del estudio del léxico específicamente musical en esos autores, y en la actualidad es miembro integrante del proyecto de investigación La tradición literaria griega en los ss. III-IV d.C. Gramáticos, rétores y sofistas como fuentes de la literatura greco-latina (II), financiado por el MINECO (ref. FFI2017-83315-C2-1-P; investigadora principal: Dra. Lucía Rodríguez-Noriega Guillén), ocupándose, entre otros cometidos, del estudio de las citas de autores musicales griegos antiguos en la obra de Ateneo de Náucratis.
En el campo de estudio de la Música Griega Antigua, cuenta en su haber con las siguientes publicaciones y comunicaciones:
Artículos
– “Monochord and Harmonic Canon. Two Comments on Ptol. Harm. 2.12 and 2.13”, The Classical Quarterly 61/2 (2011), 677-689.
– “A Note on Ptol. Harm. 102,6 Düring”, Arctos 44 (2010), 35-39.
– “El helicón y las Musas heliconíades: una cuestión lexicográfica”, Athenaeum 98/1 (2010), 25-43.
– “Ptolemy on Sound: Harmonics 1.3 (6.14-9.15 Düring)”, Mnemosyne 62/4 (2009), 548-585.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (II)”, Emerita 75/1 (2007), 137-152.
– “Algunas consideraciones críticas y exegéticas en torno al texto de la Harmonía de C. Tolomeo (I)”, Emerita 74/2 (2006), 341-358.
Reseñas de libros
– Reseña de S. Hagel, Ancient Greek Music. A New Technical History (Cambridge 2009), Mnemosyne 65/1 (2012), 164-168.
Comunicaciones – Conferencias
– “Música y planetas: la «Harmonía de las Esferas»”, conferencia invitada dentro del ciclo En órbita: En torno a los planetas de Gustav Holst, organizado por la Universidad de Oviedo (Avilés, marzo de 2013).
– “Ἁρμονικὸς κανών y μονόχορδος κανών. Dos problemas de interpretación en Ptol. Harm. 66.18 y 68.32 Düring”, comunicación presentada en las XVIII Jornadas de Filología Clásica en la Universidad de Oviedo (abril de 2009).
– “El campo semántico de la disonancia: διαφωνία y ἐκμέλεια en la música griega”, comunicación presentada en el VI Seminario de Filología Clásica en la Universidad de Oviedo (marzo de 2006).
Es, así mismo, Licenciado en Ciencias Matemáticas (Universidad de Salamanca, 1980), y está en posesión del Certificado de Aptitud Pedagógica (Universidad de Salamanca, 1981). Es Profesor Agregado de Instituto (Matemáticas) por oposición (1981/82 a 1988/89), actualmente en situación de Excedencia, y ha sido también profesor colaborador del I.C.E. en el curso de “Didáctica y Metodología del Área de las Matemáticas” (Universidad de Salamanca, curso 1980/81).
Está en posesión del Diplôme de Langue Française (Alliance Française, 1983), así como del Certificado de Aptitud del Ciclo Superior de Francés (EOI de Gijón, 1996), el Certificado de Aptitud del Ciclo Superior de Inglés (EOI de Gijón, 2006) y el PLIDA B2 de Italiano (Società Dante Alighieri, 2009). Ha sido Profesor Colaborador de las Enseñanzas de Canto en el Conservatorio Profesional de Gijón (cursos 2004/5 a 2011/12), en la asignatura de Idiomas Aplicados al Canto.
Manuel Ballesteros Taboada
Realiza sus estudios en Oviedo, Madrid, Barcelona y Valencia con los profesores: Rischard Kukielka, Antonio García, Ferrán Sala y Ludwing Streicher, concluyendo con el título Superior en Oviedo en 1990. Entre las orquestas en las que ha tocado se encuentran: Orquesta de Cámara y Sinfónica de los Conservatorios de Oviedo y Gijón. Orquestas Sinfónicas del Principado; “Ciudad de Oviedo”; Milenium de Gijón; “Ciudad de León”; “Julián Orbón” de Avilés; Joven Orquesta Sinfónica del Principado; Orquesta “Magistralia”; Orquesta de Cámara “Arché”; “Virtuosos de Moscú”; Trío “Jazz de Cámara” y otras agrupaciones camerísticas. En el transcurso de su carrera como intérprete ha realizado alrededor de 300 conciertos tanto sinfónicos, de cámara, como solista, música popular, Operas, Zarzuela, Jazz, etc., habiendo trabajado bajo las órdenes de directores como Victor Pablo Pérez, Benito Lauret, Pedro Halffter, Elena Herrera… y así hasta medio centenar. Miembro fundador del grupo “Jazz de Cámara”, dedicado a difundir la música de jazz especializado en el compositor Claude Bolling, con cuyas suites para diversos instrumentos solistas y trío de jazz han realizado diversas giras. Ha participado en una docena de grabaciones de géneros tan diversoscomo Jazz, Sinfónico, Coral, Folklórico, lírico, etc. Autor de una publicación sobre el Contrabajo y todos sus aspectos: técnicos, históricos, biográficos…(“El Contrabajo, una visión integral”, Editorial Trabe, 2004)
Ha impartido cursos como:
“Técnica instrumental aplicada a la Orquesta” (Albacete 1990)
“Práctica sinfónico coral” (Cantabria 1991)
“Práctica orquestal concertante” (Cantabria 1992)
“Grupo de trabajo Big-Band” (Gijón 1995-1996)
“Cursos Magistralia” (Gijón 2002-2003-2004-2006)
Profesor de contrabajo en el Conservatorio profesional de música de Gijón desde 1989 hasta 2004 en el cual fue también secretario durante 11 años. Actualmente es profesor en el Conservatorio Superior de Música de Oviedo y Coordinador Artístico de la Joven Orquesta Sinfónica del Principado de Asturias (JOSPA).
Alexei Mijlin Grodensky
Alexei Mijlin es artista emérito de Rusia, nacido en Minsk, en el seno de una familia de músicos, comenzó sus clases de violin en Lvov y posteriormente ingresó en la Escuela Central del Conservatorio Tchaykovski de Moscú para más adelante pasar al Conservatorio Tchaykovski bajo la tutela del profesor B. Belenki, y luego en posgraduación con el profesor David Oistrakh. Ganador del Gran Premio y Medalla de oro del Concurso Reina Isabel de Bruselas y Medalla de la Fundación Eugen Isay de Bélgica. Ha realizado conciertos como solista en la ex- URSS, Polonia, Iran, Bulgaria, Alemania, Holanda, Portugal, Francia, Chekoslovakia, Cuba etc, acompañado por las mejores orquestas y directores del mundo ( Ozava, Kine, Cluitens, Rozhdestvensky, etc.). Ha grabado para la Radio de Moscú y varios discos para la discográfica Melodya. Ha trabajado como profesor de violin de la Academia Superior de Música de Gnesin de Moscú y ha impartido varios masterclases y cursos Internacionales de perfeccionamiento. Entre sus alumnos se encuentran los ganadores de los primeros premios en los concursos nacionales y internacionales (París, Pamplona, Avila, Evian etc.) Desde 1990 se ha establecido en España en Asturias por iniciativa de la Fundación Principe de Asturias para la orquesta de camara “Virtuosos de Moscú” como profesor del Concervatorio Superior de musica “Eduardo Martinez Torner “ de Oviedo.
Irina Moussatova
Nació en Moscú. Comenzó sus estudios en la Escuela y Colegio de Música Ippolitov-Ivanov con D. Kaishauri y L. Fijtengolz. Obtiene en el Conservatorio Superior Tchaikovsky de Moscú las más altas calificaciones, siendo alumna de G. Axelrod. Está en posesión de diversos premios como acompañante en corcusos de gran prestigio internacional: Wieniawsky en Poloni (1979, Lublin), D. Oistrach (1988, Odessa), L. Spohr en Alemania (1991, Freiburg), Pablo Sarasate en España (1995, Pamplona) y premios en el concurso internacional Tchaikovsky en tres ocasiones: 1982, 1990 y 1994 (Moscú). Realiza numerosos recitales con músicos célebres: M. Kugel, E. Altman, J. Oistrach, N. Yaschwili, D. Koch, V. Notas, Y. Toda, etc. Con la Orquesta Estatal de Cámara de Moscú interpretó el «Concierto Grosso» de A. Shnittke. Asiduamente es invitada a cursos y festivales internacionales: Colmar (Francia) con el Maestro V. Spivakov, Spoletto (Italia), Ost West Music Fest (Austria, Krems), Oviedo, Llanes, Sevilla, Madrid, Jaén. Desde 1994 es profesora de música de cámara en el Conservatorio Superior de Moscú. Ese mismo año formó el Dúo «Miris» con su marido M. Spivak (violín). Actualmente «Miris» sigue ofreciendo recitales y ha grabado varios Cd. En el año 1998 consigue plaza de profesora de repertorio con piano en el Conservatorio Superior de Música de Oviedo. Este año con «Gauguin» trío interpretó las obras de los compositores españoles Granados, Turina, Castillo, Ros… Como pianista de «Sonus Ensemble» partició en el «Festival de verano» 2005 con quintetos de F. Schubert y J. Brahms, y en 2006 con obras de R. Schumann.
José Rodrigo Roglá
Cursa sus estudios musicales en el Conservatorio Superior de Música de Valencia bajo la dirección del profesor D. José Rosell. Realiza cursos de perfeccionamiento de la técnica instrumental con los profesores M. Höltzel (Salzburgo), A. Haltead (Londres) y Vicente Zarzo (Valencia). Posee amplia experiencia en música de cámara habiendo sido componente entre otros gruposdel Quinteto de Vientos “CIUM”. En la actualidad forma parte del Quinteto de Vientos «Tempus” del que es miembro fundador, así como del grupo “ACM”. Ha colaborado con diversas orquestas de ámbito nacional, Orquesta Nacional de España, Orquesta Ciudad de Granada, Filarmónica de Gran Canaria, Orquesta Sinfónica de Euskadi. etc. Ha sido profesor-colaborador de la Joven Orquesta del Principado de Asturias (JOSPA) y de los cursos de la “Fundación Magistralia”. Fue trompa solista de la Orquesta Sinfónica de Asturias (OSA) y trompa co-principal de la Orquesta Sinfónica del Principado de Asturias (OSPA). En la actualidad es profesor en el Conservatorio Superior “Eduardo Martínez Torner” de Oviedo plaza que compagina con la de profesor en el Conservatorio Municipal“Julian Orbón” de Avilés.
Fernando López Blanco
Nacido en León en 1972. Realiza estudios de música en la especialidad de Piano en el Conservatorio Profesional de León, los cuáles concluye obteniendo Premio Extraordinario.
Posteriormente continúa su formación en el Conservatorio Superior Eduardo Martínez Torner de Oviedo, titulándose como Profesor Superior en las especialidades de Piano; Solfeo, Teoría de la Música, Transposición y Acompañamiento; Armonía, Contrapunto, Composición e Instrumentación.
También ha realizado numerosos cursos de Composición y Dirección, con maestros de talla internacional como Cristóbal Halffter, Guy Reibel, Yizhar Sadai y George Benjamin, entre otros.
En el campo de la composición se han escuchado sus estrenos sinfónicos y camerísticos en lugares como el Auditorio Municipal de León, el Teatro Campoamor de Oviedo, el Teatro Bérgidum de Ponferrada, Indiana University Suth Ben (EEUU); destacando obras como la Sonatina para piano Catarsis, la Suite para Orquesta, El quinteto Allegro y Canción, el Concierto para piano y Orquesta Heliconio, La sinfonía Magerit, La sonata Onírica para saxofón alto y piano, grabada en el C.D. Saxofonía (producido por el Festival de Música Española de León), el septeto Regnalf (2º premio en el II concurso de composición organizado por la asociación cultural Apoyo a la Creación Musical en Asturias), Docecod para orquesta de cuerda, Magnificat para coro mixto a 12 voces. Cantata berciana, editada por el Instituto de Estudios Bercianos. Amicitia, galardonada en la VIII edición en voces mixtas del Concurso Internacional de Composición Coral Amadeus.
Desde 1997 hasta 2004 desarrolla su actividad docente en el Conservatorio Cristóbal Halffter de Ponferrada, a cargo de las Orquestas y Coros de dicho centro, compaginando esta labor con la dirección de la Banda de Música Ciudad de Ponferrada y de la Coral Polifónica Flores del Sil. Desde enero de 2004 desempeña puesto docente en el departamento de Composición del Conservatorio Superior Eduardo Martínez Torner de Oviedo.
En 2006, superando concurso-oposición con el número uno en la especialidad de Fundamentos de Composición, obtiene plaza como Funcionario Docente del Gobierno del Principado de Asturias.
En 2014 resulta premiada su obra Amicitia en la VIII edición del Concurso Internacional Amadeus de Composición Coral.
Desde julio de 2014 hasta la actualidad desempeña el cargo de Jefe de Estudios del Conservatorio Superior “Eduardo Martínez Torner de Oviedo”.
En junio de 2015 obtiene el título de Doctor Cum Laude por la Universidad de Oviedo, tras la lectura de su Tesis Doctoral titulada Ángel Barja (1938-1987). Análisis de su obra musical.
En 2019 obtiene la Cátedra de Composición del Conservatorio Superior del Principado de Asturias.
