Novecento Quartet News


29th of November 2019 – Betanzos
Aula de Cultura do Edificio Arquivo
Memorial Concert for Carlos López García-Picos

31st of July 2019 – Noia
Teatro Coliseo
Concert organised by Noia Harp Fest

8th of June 2019 – Barcia de Mera
San Martiño Church
Concert in the “XI Ciclo de Música Religiosa”

11th of March 2019 – Pontevedra
Teatro Real
Concert organised by the Philharmonic Society of Pontevedra

17th of December 2018 – Monforte de Lemos
Casa da Cultura Lois Pereiro
Concert organised by the Philharmonic Society of Monforte de Lemos

16th of July 2018 – Sanxenxo
Auditorio Emilia Pardo Bazán
Concert organised by the Philharmonic Society of Rías Baixas

23rd of June 2018 – Santiago de Compostela
University Church
Concert organised by the Friends of Opera Association of Santiago de Compostela

3rd of May 2018 – Santiago de Compostela
University Paraninfo Hall
Ciclo “Las grandes compositoras de los siglos XIX y XX””Great composers of the 19th and 20th Century” concert series
Organised by the University vice-recotrate of the University of Santiago de Compostela

16th of April 2018 – Vigo
Auditorio Afundación
Concert organised by the Philharmonic Society of Vigo

9th of June 2017 – Santiago de Compostela
University Paraninfo Hall
Concert organised by the vice-rectorate of the University of Santiago de Compostela

27th of May 2017 – Barcia de Mera
San Martiño Church
Concert in the “IX Ciclo de Música Religiosa”

2nd of August 2016 – Noia
Teatro Coliseo
Concert organised by Noia Harp Fest

21st of June 2016 – Santiago de Compostela
University Paraninfo Hall
“A short history of String Quartets” concert series
Concert organised by the vice-rectorate of the University of Santiago de Compostela

Cuarteto Novecento

Press, concert reviews, interviews

Marcial del Adalid was born in A Coruña and Carlos López García in Betanzos, meaning they both come from practically the same city. Interestingly, they both died in Oleiros. Mind you, more than 100 years seperate their births. Adalid is a 19th Century composer, whereas López García is from the 20th Century. Combining them both in one concert allows one to observe how differently a romantic era or conteporary composer treats a string quartet. The differences in musical language are evident, however the works deserve to be included in the repertoire of Galician music. And, also in a world of sound that has not had many supporters. The exception being Carlos López García, who has written more than twenty string quartets. This one is the 11th, which he dedicated to Javier Echevarría, with whom he had a great friendship, cemented in mutual respect and affection. Perhaps it is due to this friendship that this work is more friendly and accessible to the listener than other works by the same composers, whose music is often difficult for both the interpreters and the listeners. Novecento Quartet did a magnificent job in performing this extremely difficult work. The same happened with the quartet of Adalid, a
beautiful work which I had the privilege of analyzing in the year 2000 for a programme of the concert series “Ciclo de Música Gallega”, organised by the Barrié Foundation. The four musicians made a wonderful reading of this work, which contained beautiful melodies, elegant passages and refined solos. In short, a very balanced version in which the balance was always perfect, allowing the listener to here the interesting polyphonic interplay of the work. The audience gave a great and deserved ovation.

Novecento Quartet
Four members of our RFG offered us a quite unusual evening in the Paraninfo of the University, at least because of two of the works that accompanied the revival of the String Quartet by Juan Durán, recovered from the missed “Festival Via Stellae” of 2007: the works being “Novelletten” by Frank Bridge and the brazen “Minimax: Repertorium für Militarmusik” by Paul Hindemith. (…)
Music for all, including experts without resrictions nor shame at the moment to dare to take the lead. Novecento Quartet left the script behind, allowing themselves artistic license to incorporate references that were not included in “Minimax” but that would have surely have approved of by the composer himself.
This is the beginning as they have promised new chapters to be delivered. We stick to the word seeing how comfortable they were.

As part of the cycle “a short history of string quartets” promoted by the vice-rector, another session, this time featuring works by Bartok, J. Turina, Shostakovich and Britten. Amongst the musicians, the hungarian violinist Ildikó Oltai, who was assistant concertmaster of the László Quartet and who interpeted, many years ago, Bartok’s 2nd Violin Concerto with the R.F.G. The cellist Millán Abeledo, who studied with Troels Svane in the Musikhochschule in Lübeck; Irina Gruia, a romanian violinist who studien with members of the Emerson String Quartet and the romanian violist Ioana Ciobotaru, who studied with Valeriu Pitulac at the Adacemy of Music in Bucharest. Bartok’s crown jewel, the Quartet nº 2, Sz 67. Bartok said that only by having systematic recollections of hungarian, slavic, romanian and croat themes, organised by specific methods, could he begin to study the comparisons between folk music. The musicians in this concert heald us in a state of trance: The moderato in its overwhelming density; the Allegro molto capriccioso, nervously exploring betwen glissandi and pizzicati until the Lento with calculated variations and idiomatic harmonies. A Bartok per se for some musicians who share their these perspectives in their roots. J.Turina and “La oración del torero”, if anything, we are able to put ourselves in the beauty of a possible cristallised casteism. The assimilation of our cultures, allowed them to enjoy, with excellent taste, the fine aromatic reserves. The sarcastic and scathing “Two Pieces” by Shoskakovich (Elegy and Polka). The Elegy combines an aria of Katerina Ismailova, the chilling Lady Macbeth of Msensk and a dance from the ballet, The Golden Age, all at once, and the Polka borrows from his other works with a jovial mood. Again, the slavic temper in measured dosis allows us to place ourselves within the confines of his moods. B.Britten’s 3 Divertimenti: The March threatens the complete rupture of the tonality of the piece; the Waltz with its disguised air of conformity and the Burlesque, contrasting and picturesque.