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Foreword Spain has developed a broad network of music auditoriums in many cities over the last decades. Orchestras have been created, music seasons and festivals have been organized, and those pioneering institutions that paved the way through more difficult times have become established. In many ways, the level of European countries that over the last century have been an example, has been achieved. This volume presents the reality of these achievements: more than twenty orchestras, nine youth orchestras, about fifteen cities now equipped with excellent music venues, almost thirty festivals with very high-quality programmes... Venues, festivals and orchestras that we have seen being created and becoming established over the last thirty years, today place our musical panorama in the area of normality. Essential in this has been the support and colaboration of the various state institutions –-Town Halls, Departments, Communities and the Government of Spain–as well as the consistently more determined activities in the artistic, professional and more amateur spheres. Four of the founders of the INAEM are important in their respective fields: The Orquesta y Coro Nacionales de España, The Joven Orquesta Nacional de España, The Auditorio Nacional and the Teatro de la Zarzuela. To these must be added the Centro para la Difusión de la Música Contemporánea and the Festival de Alicante, essential in recounting the recent development of contemporary music in Spain.Any new project is today built on foundations as solid as these bodies, the trajectories of which point towards a future in which new challenges will have to be faced with innovative performance models which will allow us to broaden the diffusion, the diversity of languages, of aesthetics and of genres, and the quality, of Spanish musical production.
Four of the founders of the INAEM are important in their respective
fields: The Orquesta y Coro Nacionales de España, The Joven Orquesta
Nacional de España, The Auditorio Nacional and the Teatro de la
Zarzuela. To these must be added the Centro para la Difusión de la
Música Contemporánea and the Festival de Alicante, essential in
recounting the recent development of contemporary music in Spain.Any
new project is today built on foundations as solid as these bodies, the
trajectories of which point towards a future in which new challenges will
have to be faced with innovative performance models which will allow us
to broaden the diffusion, the diversity of languages, of aesthetics and of
genres, and the quality, of Spanish musical production.
In this prologue it is an honour for me to address all those people who show their love and attraction for music that are reading this book. And it is whether because now I only share their fascination, or, above all, because as Mayor of Oviedo, I represent a city with a long tradition and that is dedicated to music as an irrevocable mark of its identity for the future. I am convinced that if cities had souls, Oviedo´s would be music. For an administration of our size it would be impossible to produce a programme like we have, if it was not for the constant support of the people of Oviedo, which makes a success of, and creates the stimulus to continue, each concert, each recital, each performance of zarzuela and opera. It gives me great satisfaction to see brought together in the pages of The Golden Book of Music in Spain some of our initiatives and the venues which serve them, with our great lyric theatre, the hundred-yearold Teatro Campoamor, at the forefront. They are the evidence of a comprehensive policy of support for music which begins by introducing children to this wonderful world through the music schools and which is further aided by the Joven Orquesta Internacional Ciudad de Oviedo, the Oviedo Filarmonía Orchestra, a season of Zarzuela, a season of Opera, a series of piano conferences and concerts with the participation of the best conductors, soloists and orchestras from all over the world, a Festival de Danza, a Festival de Música in Summer, and the Premios Líricos Teatro Campoamor. In brief, a musical activity which, without doubt, exceeds what could be expected of a city of little more than 200.000 inhabitants.
Music is a universal sentiment and is of future value to cities
that make culture, in general, their principal attraction. In
Oviedowe love music and believe that it can be a decisive
element in the projecton of the image of the city towards the
exterior. And I hope that the readers of this Golden Book will
discover that not only big cities can host major musical events;
that there exists in the North of Spain, in Asturias, a charming
and welcoming capital in which to enjoy the best music.
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