Scherzo Mayo 2006
Santiago Martín Bermúdez

“We would certainly like to call your attention especially to the exceptional Lament for Maundy Thursday in Cuenca by Antoni Parera Fons, 10 mintues of basically tonal music, in different episodes, gradually growing in intensity, high drama, alternating decrescendos and accelerandos that produce dramatic effects.”

Comments on the program
Roberto Benito

The first concert devoted to the violin will include the first piece for solo violin by Antoni Parera Fons (Manacor, Majorca), a musician whose career has covered a variety of different areas: singer, recording project manager and artistic director for  record labels Zafiro, Hispavox or Estel, as well as a composer in different mediums such as theater, cinema or television, directing the project “Sons de les Illes Balears” to show people what the musical traditions of the Balearic Islands are like.
The Sacred Music Week in Cuenca presents the world premiere of composer Parera Fons’ work Lamento de Jueves Santo en Cuenca. This piece harks back to and links up with a genre and a tradition that have been in existence since the beginning of Western music, the “Lamentatio”, both in its religious versions taken from the Bible and the Book of Jeremiah or other Prophets in Israel and then, later developed in the liturgy of Holy Week by the Catholic Church, as well as in laments of a secular nature about unrequited love or abandoned lovers…Ariadna, Amarilli, Dido, etc. In the case of Parera Fons’ setting, the starting point is something interior, profound, something intimately dramatic, something we would confront  just before the silence.
Parera Fons’ Lamento starts by  working with his harmonic development from the very opening theme; he also finds constant inspiration in Majorcan folk songs–an element which is present in nearly all his works. Listen for this “tune” or song. Fact is, you can still hear it in the more rural areas of the Island. He builds this into the music’s texture.
This piece has a number of influences which are developed or varied in one way or another, starting with  jazz and followed by a dash of Mediterranean aromas like the dances of Albéniz, Toldrà, Mompou and Esplá, then a simple melody in its purest state or more complicated counterpoint allowing for devilishly virtuosic technical demands on the performer, we hear despair expressed by heart-rending chords, and even expressive silence that aptly describes the overall character of the score.
Form-wise, the piece might be called a free aria da capo, in variations with different sections, but united in their rhythmic, harmonic or even timbre transformations or their dynamic character , always playful in its approach to tonality and its occasional use of modality.
We hope by programming this first piece for solo violin by Parera Fons that other violinists will want to collaborate–in this case the guest artist was Ara Malikian–and that we’ll be able to enjoy new literature which can successfully blend contemporary art with this long-standing tradition.