{"id":11579,"date":"2024-05-29T06:34:32","date_gmt":"2024-05-29T06:34:32","guid":{"rendered":"https:\/\/pluralensemble.com\/portfolio\/cesar-camarero-chamber-music\/"},"modified":"2024-07-13T15:10:19","modified_gmt":"2024-07-13T15:10:19","slug":"cesar-camarero-chamber-music","status":"publish","type":"portfolio","link":"https:\/\/pluralensemble.com\/en\/portfolio\/cesar-camarero-chamber-music\/","title":{"rendered":"C\u00e9sar Camarero. Chamber Music"},"content":{"rendered":"\t\t
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“I have known C\u00e9sar Camarero’s music for many years. He has even been generous enough to dedicate some of his works to me -for example, the admirable Klangfarbenphonie<\/em>, which appears on this CD, for which I thank him for what it is worth-. However, I had never listened to more than fifty minutes of it in one sitting (as they say). <\/p>\n

This is rightly considered a difficult test and many illustrious and well-known composers do not pass it, not so much for reasons of quality as for narrowness or insistence on the same expressive register (I will not name names). <\/p>\n

Well, this is not the case of C\u00e9sar: the variety of moods and sound images does not diminish even though, logically, the resources used are similar: they come from the same hand. There is also something that I find fascinating: so much music by the same author that it is impossible not to get a true picture of his sensibility, of his personal world, of his phobias and instinctive philias. <\/p>\n

I don’t think I’m too wrong if I say that C\u00e9sar is a lyricist of the introspective genre […]”<\/p>\n<\/p>\n

Luis de Pablo<\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Chamber Music<\/span><\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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composer<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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C\u00e9sar Camarero<\/span><\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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PluralEnsemble<\/strong>
Alicia Suescun, flauta
<\/span>Iv\u00e1n Garc\u00eda Redondo, clarinete
<\/span>Victor Anchel, oboe
<\/span>Ema Alexeeva, viol\u00edn<\/span>
Jos\u00e9 Manuel Rom\u00e1n, viola<\/span>
David Apell\u00e1niz, violonchelo<\/span>
C\u00e9sar Peris, percusi\u00f3n<\/span>
Alberto Rosado, piano<\/span>
Mickaele Granados, arpa<\/span>
Kym Amps, soprano<\/span><\/p>

Solistas<\/strong>
Ema Alexeeva, viol\u00edn<\/span>
Alberto Rosado, piano<\/span>
Angel Luis Casta\u00f1o, acorde\u00f3n<\/span>
Kym Amps, soprano<\/span><\/p>

Director<\/strong>
Fabi\u00e1n Panisello<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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I<\/strong>. Jet of light into the heart of a galaxy <\/strong><\/em><\/span>1999
<\/span>for violin and viola<\/span>

II<\/strong><\/span>. Klangfarbenphonie <\/strong><\/span><\/em>1993<\/span>
for piano and ensemble – Alberto Rosado (piano)<\/span>

III<\/strong><\/span>. Blue light <\/strong><\/span><\/em>1998 <\/span>
for accordion solo – \u00c1ngel Luis Casta\u00f1o (accordion)<\/span>

IV<\/strong><\/span>. Reverse 2 <\/strong><\/span><\/em>2001 <\/span>
for flute, clarinet, violin, violoncello, vibraphone and piano<\/span>

V<\/strong><\/span>. Slow motion <\/strong><\/span><\/em>1997<\/span>
based on poems by Sebasti\u00e1n D\u00edaz Eresma for soprano alto flute, percussion and accordion – Kym Amps (soprano)<\/span>

VI<\/strong><\/span>. Finale <\/strong><\/span><\/em>1993<\/span>
for solo piano – Alberto Rosado (piano)<\/span>

VII<\/strong><\/span>. Poem in memory of Exiquio Garc\u00eda Carbajo <\/strong><\/span><\/em>2003 <\/span>
for solo violin – Ema Alexeeva (violin)<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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