{"id":3434,"date":"2022-07-13T13:47:35","date_gmt":"2022-07-13T13:47:35","guid":{"rendered":"https:\/\/fernandovelazquez.com\/en\/2022\/07\/13\/fernando-velazquez-displays-another-facet-of-his-work-as-a-symphonic-composer-in-viento-wind\/"},"modified":"2022-07-13T14:13:46","modified_gmt":"2022-07-13T14:13:46","slug":"fernando-velazquez-displays-another-facet-of-his-work-as-a-symphonic-composer-in-viento-wind","status":"publish","type":"post","link":"https:\/\/fernandovelazquez.com\/en\/2022\/07\/13\/fernando-velazquez-displays-another-facet-of-his-work-as-a-symphonic-composer-in-viento-wind\/","title":{"rendered":"Fernando Vel\u00e1zquez displays another facet of his work as a symphonic composer in \u2018Viento\u2019 (Wind)."},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"3434\" class=\"elementor elementor-3434\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-366874e1 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"366874e1\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-6dbe2199\" data-id=\"6dbe2199\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7dcb22d elementor-widget elementor-widget-text-editor\" data-id=\"7dcb22d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\n<h2 class=\"wp-block-heading\">EIn a recording project released by the legendary Pentatone label, Fernando Vel\u00e1zquez displays another facet of his work as a symphonic composer in \u2018Viento\u2019 (Wind).<\/h2>\n\n<ul class=\"wp-block-list\">\n<li>This composition was recorded with the prestigious German-Canadian cellist Johannes Moser, the Euskadiko Orkestra and the Kup Taldea choir.<\/li>\n<li>This is the first time that the multi-award-winning Basque musician, who won a Goya for his work on the soundtrack for Un monstruo viene a verme (A Monster Calls), has presented a recording not linked to a film or theatre production.\u00a0<\/li>\n<\/ul>\n\n<p><em>Madrid, June 2022<\/em>. Symphonic poetry, cantata, cello concerto&#8230; these are the genres that the composer Fernando Vel\u00e1zquez tackles in his recently released recording project, \u2018Viento\u2019 (Wind). Released on the Pentatone label, and under the musical direction of the Basque composer, the recording brings together the prestigious German-Canadian cellist Johannes Moser, the Euskadiko Orkestra and the Kup Taldea choir. This is the first time that Fernando Vel\u00e1zquez has presented an original recording that is not linked to a film or theatre production. \u2018Viento\u2019 can <u><a href=\"https:\/\/smarturl.it\/VientoMoserBNO\" target=\"_blank\" rel=\"noreferrer noopener\">be listened to on the main streaming platforms and purchased on the Pentatone website. <\/a><\/u>.\u00a0\u00a0<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"https:\/\/youtu.be\/iLdNe90UxzY\">Viento<\/a> marks the Getxo-born musician&#8217;s first collaboration with Johannes Moser, guest soloist on the recording of the <em>Concierto para violonchelo<\/em> (Cello Concerto). However, Fernando Vel\u00e1zquez had previously worked with the Euskadiko Orkestra. In fact, they had already enjoyed great success together for the soundtracks for films such as <em>Un monstruo viene a verme<\/em> (A Monster Calls) &#8211; for which Fernando Vel\u00e1zquez won the Goya for Best Original Score in 2017 -, <em>Ocho apellidos vascos<\/em> (Spanish Affair), <em>Contratiempo<\/em> (The Invisible Guest), <em>Submergence and major series such<\/em> as <em>Patria<\/em>. The composer also has close ties with the Guipuzcoan choir Kup Taldea, with whom he recorded the music for the aforementioned Patria and J.A. Bayona&#8217;s film <em>El orfanato<\/em> (The Orphanage). \u00a0<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>\u201cAlthough I don&#8217;t think there is an essential difference between other compositions and those being released on this occasion, it is the first time that I have presented to the public a piece that does not belong to a film or play\u201d, explained Fernando Vel\u00e1zquez. \u201cThe fact that it is with Euskadiko Orkestra, Johannes Moser and Kup Taldea is very exciting because of the admiration I have for them and their involvement in the recording. It is also very exciting to be able to do it with Pentatone, one of the world&#8217;s leading record labels\u201d.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><strong>\u2018Viento\u2019, the force of nature <\/strong><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>As the text published by Pentatone regarding \u2018Viento\u2019 explains: \u201cThe album opens with Concierto para violonchelo, which combines an elegiac opening movement, like a transcription of a Stabat Mater, with a rock-inspired central movement and a finale that employs the rhythm of the Basque dance Zortziko. Johannes Moser&#8217;s masterly interpretation brings out all the colours and nuances of this exceptional score. Cantata d&#8217;Est\u00edo was conceived to be performed in concert before Beethoven&#8217;s Ninth, and therefore shares tonality and organicism. Combining a biblical text from Ecclesiastes with poetry by Fernando Vel\u00e1zquez&#8217;s father, Jos\u00e9 Mar\u00eda, the cantata celebrates the beauty and fullness of nature and the burst of summer life. Viento del Oeste (Wind from the East) conveys a similar feeling, communicating those ineffable sensations that a perfect sunset with clear skies can give us. Ultimately, \u2018Viento\u2019 is not only a celebration of sublime nature, but above all an act of liberation, for which the composer has written the music he finds most beautiful and meaningful\u201d.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><strong>Emotion and talent<\/strong><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>In addition to being a leading name in the field of music composition for film, theatre and television series, Fernando Vel\u00e1zquez is a multifaceted musician: orchestra conductor, concerto composer, cellist, arranger and songwriter.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>He has composed award-winning and memorable soundtracks for films including all those by J.A. Bayona, such as <em>El orfanato<\/em> (The Orphanage), <em>The Impossible<\/em> and <em>Un monstruo viene a verme<\/em> (A Monster Calls), the latter of which was awarded the Goya for Best Original Score in 2017.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>He also composed the music for some of the highest-grossing films in Spanish cinema\u2019s history, such as <em>Ocho apellidos vascos<\/em> (Spanish Affair), <em>Los ojos de Julia<\/em> (Julia\u2019s Eyes), <em>El silencio de la ciudad blanca<\/em> (The Silence of the White City), <em>Contratiempo<\/em> (The Invisible Guest) and series such as <em>Patria<\/em>, <em>El inocente<\/em> (The Innocent) and the upcoming <em>Alma<\/em>, among others.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>His Hollywood experience includes films such as Guillermo del Toro&#8217;s <em>The Scarlet Summit<\/em> and M. Night Shyamalan&#8217;s T<em>he Evil Trap<\/em>. He was asked by Wim Wenders to score his 2017 film <em>Submergence<\/em>.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>He has also enjoyed a significant and award-winning career as a classical musician and composer. Among his more than 250 symphonic compositions, the record release of \u2018Viento\u2019 is a particular highlight.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>It is also worth mentioning <em>Humanity at Music<\/em>, a cantata translated into several languages which has become the international anthem of cooperativism. It is part of an inter-cooperative artistic project bringing together artistic disciplines such as music, storytelling, singing, illustration, theatre and dance. Also of note is <em>Concierto para tromb\u00f3n y orquesta<\/em> (Concerto for Trombone and Orchestra), recorded by Ximo Vicedo and Euskadiko Orkestra in 2020.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>As a conductor, he has led London\u2019s Philharmonia, the London Metropolitan, the Czech National Orchestra, the Budapest Radio Orchestra, and the symphony orchestras of RTVE, Bilbao, Euskadi, Extremadura, Galicia, Comunidad de Madrid, Navarra, Murcia, Principado de Asturias and Seville, among others.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>As an arranger, he has worked on orchestral arrangements of pieces by other composers, such as a version of the famous <em>C\u00e1ntico espiritual<\/em> by Amancio Prada, based on the poems of San Juan de la Cruz, or his collaboration on Jorge Drexler&#8217;s latest album, <em>Tinta y tiempo<\/em>, among many others.<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>For more information:<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>BRIDGE<br \/>T. 915 23 25 08<br \/>Concha Marcos <a href=\"mailto:concha@thebridge.es\">concha@thebridge.es<\/a><br \/>Pablo Menacho <a href=\"mailto:pablo@thebridge.es\">pablo@thebridge.es<\/a><\/p>\n<!-- \/wp:paragraph -->\t\t\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\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>EIn a recording project released by the legendary Pentatone label, Fernando Vel\u00e1zquez displays another facet of his work as a symphonic composer in \u2018Viento\u2019 (Wind). This composition was recorded with the prestigious German-Canadian cellist Johannes Moser, the Euskadiko Orkestra and the Kup Taldea choir. This is the first time that the multi-award-winning Basque musician, who [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":3437,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sin-categoria"],"_links":{"self":[{"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/posts\/3434","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/comments?post=3434"}],"version-history":[{"count":4,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/posts\/3434\/revisions"}],"predecessor-version":[{"id":3555,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/posts\/3434\/revisions\/3555"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/media\/3437"}],"wp:attachment":[{"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/media?parent=3434"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/categories?post=3434"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fernandovelazquez.com\/en\/wp-json\/wp\/v2\/tags?post=3434"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}