Lina Tur Bonet, violinist: “The truly authentic always sounds like a world premiere” | Culture | EUROtoday

As two pals left to talk a Sunday afternoon and the dialog is taking them via surprising locations and reminiscences. Thus defines the violinist Ibiza Lina Tur Bonet the gestation of her final duo album with the tiorbista Jadran Duncumb Entropy (Glossa) in reference to the spontaneity, creativity and improvisation with which they handle an assortment of items of various stylistic colleges and traditions of the European Baroque. “In these times when everything is ordered in drawers with its corresponding label, we wanted to claim the search, experimentation and fragility of doubt,” says the interpreter.

The result’s a tremendous and really suggestive dance of sounds by which chaos activates the spark of expressiveness. “Faced with the philosophy of perfection and beauty instagrameablethe music of the seventeenth century reconciles us with the unnoticed, the risk and error as a need, which said Luigi Nono, through a dialogue without words. ”For this, the violinist offers in this record an authentic recital of what is known as stylus phantasticusthat is, a method of free and casual composition that emerged in the early baroque without another purpose than to explore emotions through imagination and virtuosity.

“It is the time when the instrument emancipates its accompaniment work and acquires its personal entity,” explains the Balearic artist. “For the primary time in historical past the composers make the violin converse with a human voice.” So much so that in the notes of Entropy The text of Spring of Jean-Baptiste Drouart de Bousset, a serious Originally conceived for soprano, but whose bucolic regret (“Why, sweet nightingale, in this bleak dwelling I wake up before the dawn?”) Lina Tur sample With a set of textures, subtle ornamentation and an almost breathed phrasing that extracts from the warm timbre of his violin Nicolò Amati, manufactured in Bologna around 1740.

Not by chance this trip to the origins of stylus phantasticus starts with the Imitation of the bells by Johann Paul von Westhoff, in which the instrument has to emulate the characteristic metallic tañido with rhythmic repetitions and double strings. “My Weimar condo is three blocks from Westhoff’s home, after which it could be Bach’s,” reveals the professor and professor of Musikhochschule in the German city. From there, the tour continues with the luminous Sonata second from Giovanni Battista Fontana, La Dulce and Almost Infantil Romanesque of Biagio Marini and the extravagant Vinciolina De Giovanni Antonio Pandolfi Mealli.

In the rarity section, we find the Saraband from Giuseppe Colombi, in which the Chapel Master of the Modena Court uses the scrapping to create harmonic resonances that break with the typical solemnity of the genre. Of the moving Sonata in my minor From Czech Samuel Capricornus only another recording is known to date. Nor has it left just a trace in the files the Third of the Conquense and Fraile Agustino Bartolomé de Selma and Salaverde, who worked in Innsbruck under the orders of the archduke Leopoldo V. “Hence the meditative nature of a sonata that in its final stretch acquires a devotional gesture that sounds like Amen”.

It is not the first time that Tur Bonet defends parties unknown to a good part of the public. This has been doing, in recent years, with the Sonatas by Elisabeth Jacquet de la Guerre, the three unpublished concerts of her album Vivaldi Premieres or the 15 mysteries of the Sonatas Del Rosario De Biber, who recorded with Music Alchemica, the original instrument group that she founded in 2008. “Each go to to the research precede years of musicological analysis,” he acknowledges. “But rigor can not translate right into a museum and soul studying. The actually genuine at all times sounds new, world premiere.”

This explains the tears of emotion of the sound engineer, Bert Van Der Wolf, after the last of the three recording days in the Muziekhaven Zandam, an old Mennonite church, today desacralized, on the outskirts of Amsterdam. “Jadran and I got carried away by the moment, without thinking about the consequences, as in a jam session Estemporal and transgressive, ”says the artist about an album, the twenty -career of her solo career.” When you give your self the unknown, magic arises, however it isn’t one thing that may be deliberate. As within the Buddhist parable of the cleaning soap: should you squeeze it, you escape. ”

Before changing into a world reference for interpretation with historicist standards, Lina Tur needed to face not just a few setbacks. “I was going to dancer, but at 10 I started playing the violin on my father’s recommendation,” he confesses. “There were some faces of surprise, because I was born with my heart finger of my right shorter than normal.” It is the primary time that he talks about it in an interview. “My first teacher did a great favor when he told me, without the slightest touch, that I couldn’t make a living with the instrument. Then I saw it clear: I told my parents that I wanted to dedicate myself to this.”

His warfare cry borrowed from a Beethoven poster who hung from one of many partitions of his home, and that prayed like this: “To do all the good possible, to love freedom over all things and, even when it was on a throne, never betray the truth.” “That has always been my motto and, perhaps because of that, I have never done what was expected of me.” Günter Pichler, his violin instructor in Vienna, the place he moved to being very younger with out understanding a phrase of German, really useful to place heads in a big orchestra. “I chose to be faithful to myself, which is always the most difficult path, and I opted for ancient music and baroque violin,” he celebrates.

His expertise by no means went unnoticed, both as a member of the Mahler Chamber Orchestra of Claudio Abbado, in his appearances with John Eliot Gardiner and Daniel Harding or of their most up-to-date situation of concertin of Le Concert des Nations by Jordi Savall. His three many years of musical archeology, on the prowl of scores buried by time, culminate now with a remaining reinvention in accordance with the rules of entropy. “I am not interested in the solid state. The function of an interpreter consists precisely in softening the mud, in shaping the notes. And in this album I have taken this idea to the limit until I become, rather than liquid, almost gaseous.”