Ir al contenido principal

Teresa Carreño in Madrid (1915): Concert at Teatro de la Comedia and the Fire That Changed Everything


Teresa Carreño performs at the Teatro de la Comedia

By then, Teresa was 62 years old and had been invited by the Madrid Philharmonic Society.

The Ibero-American magazine Arte Musical, issue no. 9 (May 15, 1915), in its “Madrid Musical” section (fortnightly chronicle), reports:

“At the Philharmonic, Teresa Carreño, the great Venezuelan, the lioness of the piano, gave a concert at the Comedia on the 17th of last month; that very night the beautiful theatre burned down, she fell ill, and not until the 10th and 12th of the present month did we have the remaining concerts, held at the Princesa.”

“When, in a first-rate virtuoso, the passing years temper the ardor of the spirit without diminishing their faculties, a marvelous case occurs: interpretation acquires such sublime serenity, such inconceivable assurance and perfection, that the music seems to rise pure and free from the instrument, without the intermediary of the artist.”

“The inexpressible art of Teresa Carreño remains forever engraved in our feelings; we shall never forget the truth and refinement of her playing, the calm, the radiant serenity of her interpretation. The sonatas (Beethoven, F minor, Op. 57, and E, Op. 27; Schumann, G minor; Chopin, B minor) were delivered in a single breath. Other works included the Symphonic Études (Schumann) and the Handel Variations (Brahms), the Chromatic Fantasy, and pieces by Liszt, Schubert, and Chopin.”

Following what happened to the theatre building, and after Teresa’s recovery, other concerts were rescheduled, including a private one by invitation of the Royal Household for the King and other members of the Spanish court, who also honored her with gifts. Carreño would stay for the last time at the Hotel Palace and would not return to Spain again.

In conclusion, I should note that regarding these visits of Teresa Carreño to Spain, I present only those I have been able to verify through written sources such as magazines, newspapers, and periodicals of the time. These can be found and cross-checked in newspaper archives and at the National Library of Spain.

Comentarios

Entradas populares de este blog

Alicia De Larrocha speaks to us about haste.

 What is the worst enemy of art according to Alicia de Larrocha? Read this article in spanish The great pianist Alicia de Larrocha leaves us some deeply valuable words regarding artistic work and dedication. These words are contained in the book of interviews with great pianists by the celebrated pedagogue Adele Marcus. Marcus: Would you please offer some suggestions to young people regarding the need for discipline, total dedication, and patience? Whatever you feel and say will mean so much De Larrocha: It is very difficult to give advice. The only thing I can say is that in order to dedicate one's self to music. one has to consider it a true vocation and to love it, without setting any rigid conditions The worst enemy of art is to be in a hurry. The command of an art is not achieved with a deadline in mind. A whole lifetime, no mat- ter how long, is not enough to reach the goal of our ambitions.

Ivo Pogorelich: “Machines Have No Talent” | Music and Technology Reflection (1987)

Leer este artículo en español Ivo Pogorelich: “Machines Have No Talent” These were the words of this brilliant pianist in the Spanish newspaper El País on January 27, 1987. “We are at the end of a millennium, and it is we performers who can make it clear that machines do not contain all the answers. When we confront a work, we offer our own vision. For us, interpretation is about seeking the meaning of things, giving our own reading of life. That is where our power lies in the face of technology. Machines have no talent.” What a pleasure it is to discover the reflections of this extraordinary pianist!

Wolfgang’s Birthday Gift. Notenbuch für Wolfgang.

  Leer este artículo en español. When Wolfgang Amadeus Mozart turned seven years old, his father, Leopold Mozart, gave him a small book called the Notebook for Wolfgang (Notenbuch für Wolfgang). The notebook contained short keyboard pieces such as minuets, allemandes, polonaises, and others, written by various composers from Mozart’s childhood period. We are referring to the Galant era—the transitional phase between the Baroque and Classical periods. It was a notebook designed by his father with a pedagogical purpose, and it reflects one of the sources from which young Wolfgang drew inspiration to learn how to compose his first minuets and small pieces. At that time, this type of notebook was a common teaching tool used by masters to instruct their students, since it was not easy to access a bookstore or shop where one could purchase sheet music or educational materials. These notebooks contained copied scores from composer friends and well-known authors of the time. They offer ins...