{"id":4765,"date":"2024-10-24T13:45:21","date_gmt":"2024-10-24T11:45:21","guid":{"rendered":"https:\/\/diantoreedquintet.com\/?p=4765"},"modified":"2024-11-21T14:17:39","modified_gmt":"2024-11-21T13:17:39","slug":"review-dianto-reed-quintet-in-the-young-performers-series-at-the-fundacion-juan-march","status":"publish","type":"post","link":"https:\/\/diantoreedquintet.com\/es\/review-dianto-reed-quintet-in-the-young-performers-series-at-the-fundacion-juan-march\/","title":{"rendered":"Cr\u00edtica: Dianto Reed Quintet en el ciclo de j\u00f3venes int\u00e9rpretes de la Fundaci\u00f3n Juan March"},"content":{"rendered":"\t\t
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Review: Dianto Reed Quintet in the Young Performers Series at the Fundaci\u00f3n Juan March<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The young Spanish wind quintet, based in the Netherlands, makes its debut at the Fundaci\u00f3n Juan March with a programme exploring the tradition of 20th-century Spanish music.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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It is always interesting to have the opportunity to discover new musical talents, a task that the Juan March Foundation has undertaken with excellence. However, when a performance features such an unusual ensemble as a reed quintet, which even includes a semi-staged presentation, the event becomes unmissable.<\/p>

Dianto Reed Quintet was formed in Amsterdam less than five years ago, though its members are five young musicians raised in Spain\u2014a clear example of exporting talent to Europe. Nevertheless, the five instrumentalists remain deeply connected to their roots, and from the very beginning of their career, Spanish music and culture have played a central role in shaping their proposals, which, as mentioned earlier, combine music with theatrical elements.<\/p>

In this particular case, the programme revolved around the concept of duende<\/em>, a phenomenon associated with flamenco and cante jondo<\/em> that is difficult to define, but which served as the quintet’s inspiration for presenting a repertoire with a distinctly Spanish flavour, brimming with dance, movement, and a touch of sensuality.<\/p>

The performance begins with the first of the Three Preludes to El Amor Brujo<\/em> by Primo Ish-Hurwitz, a 23-year-old Dutch composer. In these fantasies based on Falla\u2019s work, we are treated to the rich sound of the bass clarinet, with its powerful, growling low register, superbly showcased by Erick Rojas. The bass clarinet soon blends with the sound of the bassoon and the other instruments, creating mixed tones reminiscent of the organ\u2019s stop registers. Hugo Bouma\u2019s arrangements brilliantly highlight this blend of sounds, and the quintet executed them flawlessly, demonstrating impeccable precision in sound production. Likewise, Arjan Linker\u2019s arrangement of Oriental<\/em> by Enrique Granados is outstanding, with the clarinet and saxophone achieving a duet sound that was nothing short of idyllic.<\/p>

In addition to their brilliant tonal capacity, Dianto stood out for their highly appropriate phrasing. For instance, in Alb\u00e9niz\u2019s Granada<\/em>, they showcased daring yet fitting rubatos, though their interpretation of Castilla<\/em>\u2014omitted from the main programme and performed as an encore on Monday\u2014was somewhat over-exaggerated.<\/p>

Individually, there were many highlights that undoubtedly reflect the immense talent emanating from our homeland. Mar\u00eda Losada achieved a wonderfully rounded and balanced tone on the bassoon, with seamless transitions between the lower and upper registers. Ovidi Mart\u00ed’s phrasing was excellent, and I have already mentioned the impressive power of Erick Rojas\u2019s lower register. Mar\u00eda Luisa Olmos\u2019s clarinet exhibited a sound quality on par with top professionals across all registers, with her solos in Falla\u2019s Ritual Fire Dance<\/em> being particularly magnificent, delivering recording-level sound quality. Mar\u00eda Gonz\u00e1lez Bull\u00f3n brought out a sweet and delicate tone from the cor anglais, though I would have liked to hear more assertiveness in her solos. That said, in Bouma\u2019s arrangement of the Fandango<\/em> from Do\u00f1a Francisquita<\/em>, the oboe parts left much to be desired, making it the weakest piece of the programme. Fortunately, it was strategically placed mid-concert, allowing it to pass largely unnoticed.<\/p>

The staging, which saw the musicians moving in rhythm around a set reminiscent of a caf\u00e9 cantante<\/em> or a casual dinner setting, worked remarkably well and captivated the audience. This is understandable, as the concept, though simple, was refreshingly innovative. However, caution is advised, as some might feel that adding such elements detracts from the music\u2019s value or professionalism. For such presentations, care should be taken to avoid overly breaking the fourth wall\u2014for example, by introducing the musicians. While common in jazz concerts, this feels unnecessary in the Fundaci\u00f3n Juan March, where the ushers already distribute a leaflet with the performers\u2019 names.<\/p>

Overall, these are minor issues that I am certain will be swiftly addressed by this ensemble, for whom I predict and sincerely hope a long and prosperous future.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Article by David Santana. Un trocito de Granada en Amsterdam.<\/em><\/p>

Codalario (Spanish)<\/a><\/p>

Photo: Alfredo Casasola\/Fundaci\u00f3n Juan March
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FOLLOW US<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Review: Dianto Reed Quintet in the Young Performers Series at the Fundaci\u00f3n Juan March The young Spanish wind quintet, based in the Netherlands, makes its debut at the Fundaci\u00f3n Juan March with a programme exploring the tradition of 20th-century Spanish music. It is always interesting to have the opportunity to discover new musical talents, a […]<\/p>\n","protected":false},"author":1,"featured_media":4766,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4765","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nReview: Dianto Reed Quintet in the Young Performers Series at the Fundaci\u00f3n Juan March -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/diantoreedquintet.com\/es\/review-dianto-reed-quintet-in-the-young-performers-series-at-the-fundacion-juan-march\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review: Dianto Reed Quintet in the Young Performers Series at the Fundaci\u00f3n Juan March -\" \/>\n<meta property=\"og:description\" content=\"Review: Dianto Reed Quintet in the Young Performers Series at the Fundaci\u00f3n Juan March The young Spanish wind quintet, based in the Netherlands, makes its debut at the Fundaci\u00f3n Juan March with a programme exploring the tradition of 20th-century Spanish music. 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