Venue for the Courses:
Pza. Ayuntamiento, 1
Telephone: 974 37 31 41
Información Edición Cursos & Festivales Canfranc 2014 (desde enero 2014)
Pl. Montcada 1-3, 10 60
Telephone: 934 12 72 88/606 46 55 42
Yet another year, the month of July, flooded the town of Canfranc with good music. This venue is a small and charming village in the very heart of the Aragon Pyrenees (District of La Jacetania, Huesca). From June 30th to July 28th, more than 300 young musicians of all ages gathered around professors of international level, coming from Japan, France, Mexico, Venezuela, Letonia, Portugal, Holland, United Kingdom, Italy, Romania and of course, Spain. Many of the youngest students came accompanied by their relatives, who besides attending the festival concerts performed simultaneously to the courses, could enjoy, during the day, everything that the beautiful Jacetania offers to the visitor: nature, gastronomy, sports, adventure, history and tradition flavoured with the friendliness of its people. This summer the educational calls were:
n XII Curso Pirineos Júnior, for students from 3 to 14 years of age, from June 30th to July 6th. For the first time, simultaneously to the Junior Course, Cursos de Formación del Profesorado (Teacher Training Courses) were called.
n XII Curso Pirineos Classic, for students of Professional, Higher and Post-Graduate level. This year, two different calls were made: the first for July 8th to 14th and the second for the week of 15th to 21st.
n VII Curso Pirineos Percusión, for students of all levels and specialities, from July 22nd to 28th.
Festivales Pirineos Classic & Jazzetania
2013 Subject: Forbidden Music.
Music persecuted by nazism
With respect to Pirineos Classic & Jazzetania festivals, both based their programme on an important period of Canfranc’s history and its famous International Station: the period of the 2nd World War, most specifically that of the years of the nazi occupation of the French platform –and, by extension of the entire village, after the claudication of the Vichy Government. Years in which Canfranc became a key site for the evolution of the World War and, as a result, for the future of Europe and Humanity.
This historic period is also enthralling with respect to the music of the 20th century, since, during the latter, complex relationships were established between music and political power. In fact, nazism tried to impose a musical aesthetic that tuned into the sinister ideals of racial purity and Aryan cultural supremacy. For this reason, it criminalised and brutally silenced, any musical manifestation that did not adjust to the official doctrine, attacking, above all, avant-garde music and jazz. Nazism classified them as “degenerate music” (Entartete Musik), and under this heading the production of Jewish composers was included, simply due to the fact of being so, as well as other composers whose language did not match with the guidelines of the regime. Among “degenerate” composers, figures like Schönberg, Hindemith, Webern, Weill, Eisler –who was in Spain with the International Brigades–, Stravinsky… Some of them were exiled, others remained in a desolate creative silence. Many others died in concentration camps like Auschwitz, after writing their last composition in transit guettos like Terezin.
In contrast to this forbidden music, the nazi regime carefully selected its musical icons, its own “sound track”. In the Festivals, both music of these “official” composers or rather “made official”, may be heard, like the music of the exiled composers, silenced or murdered.
Among the numerous concerts programmed, the emotinoal recitals of two international piano icons should be mentioned, the Catalonian player Josep Colom and the Brazilian Luiz de Moura Castro; the brilliant concert of the young soprano Laia Falcón, Prize of the Mozarteum of Saltzburg, majestically accompanied at the piano by the Frenchman Denis Pascal; the entertaining and crazy night of swing –in the pretty neighbouring village of Castiello de Jaca- featured by one of the best jazz bands in the country, La Vella Dixieland; three concerts led by who are probably the three best femenine voices of national jazz: Susana Sheiman –in trio with the refined Ignasi Terraza at the piano and Nan Mercader at the congas; Carme Canela and Laura Simó –with the Francesc Capella Trio and soloists of the Festival Pirineos Classic-; the enchanting educational concert dedicated to “The Story of Babar” by Poulenc and “Sports et Divertissements” by Satie, narrated by Fernando Palacios together with the pianist Carmen Martínez-Pierret, Artistic Director of the festivals; the concert-homage to the violinist, Alma Rosé –who died in Auschwitz-, performed by the brilliant duet consisting of Clara Cernat (violín) and Thierry Huillet (piano), including the world premiere of the work “Vers le coin oblique”, by the composer Marisa Manchado; and one of the most thrilling concerts in the entire history of the festivals since its inauguration in 2002: the overwhelming concert-show, “El Barracón 15 – La Música como Resistencia”, performed by two great musicians, the violoncellist Emmanuelle Bertrand and the pianist Pascal Amoyel –both awarded with the prestigious French prize “Victoire de la Musique”.
Finally, from July 21st to 28th, the 1st edition of the FIP PIRINEOS was held (whose Artistic Director is the percussionist, Ángel Pereira), by which Canfranc became a new venue of the FIP network–Festivales Internacionales de Percusión de Madrid, Galicia, Valencia y Zaragoza- and which transformed Canfranc during the entire week into the authentic European capital of percussion, through which figures of the level of the Americans Álex Acuña and David Friedman, the Brazilian Alan Sousa, the Frenchman Philippe Spiesser –who featured the world premiere of “Back Terri” for percussion and electronics, of the British composer Alexander Vert-, the national groups Odaiko Percussion Group, Neopercusión, Nuevo Contemporáneo, BCN Percussion Project, Grup de Percussions de Barcelona and Percusiones del CSMA also performed. Four of these concerts were held in a new venue, the huge Hall of the International Station of Canfranc –partially restored and reoopened to the public after decades of abandonment- which, with its decadent majestuosity, was revealed as an unsurpassable scenario –accoustics included- for future editions of the Festivals.
The Festivals counted with the sponsorship of the State Secretariat of Culture and the INAEM (Ministry of Culture), District of Jacetania, Provincial County Council of Huesca, Aragon Government, Town Hall of Castiello de Jaca, several private sponsors and collaborators and of course, Canfranc Town Hall.