The unmistakably comprehensive and global scope of the IMMC has been structured in the following specific areas of knowledge and expertise
- Theoretical basis of the different Study Areas
- Selected Repertoire: analysis of pieces and compositions
- Fundamental techniques and skills: presentation and review
- Artistic and technical improvement and mastery
- Individual study, both by instrumental families and Tutti
- Study and interpretation of the Symphonic and Opera Repertoire
- Assemblage, Rehearsal and Performance of the Symphonic and Opera Repertoire
Conference-Roundtable, with attendance and participation of cultural and artistic authorities and preeminent figures, institutional representatives, managers, and academics from the Gómez-Martínez International Foundation, Polytechnic University of Madrid and Madrid Royal Superior Conservatoire of Music (RCSMM).
The Extraordinary Concert, conducted by Maestro Gómez-Martínez, with Joaquín Achúcarro as soloist, will take place in a scenic space of capital historical and cultural interest.
The IMMC and the recitals will take place at the RCSMM, finishing with the Closing Act and Awards ceremony.
The Closing Concert will take place at Teatro Monumental in Madrid, conducted and interpreted by conductors and instrumental and vocal soloists with the Young International Philharmonic Orchestra (YIPO).
AREA OF ORCHESTRA CONDUCTING
Methodology: practical conducting classes both with orchestra and soloists.
Active Participants will receive individual lessons every day, in which, under the instructions of Maestro, they will conduct the orchestra. It all will conclude with the final Concert.
Program: All students, either active or auditing, will receive theoretical and practical teaching about:
| CONDUCTING TECHNIQUE | ANALYSIS OF THE REPERTORY |
| STUDY ACCORDING TO GROUPS OF MEASURES | RECOGNITION OF THE MUSICAL PERIODS |
| DIFFERENT KINDS OF FERMATAS | ANALYSIS AND CHOICE OF THE TEMPO |
| STUDY AND INTERPRETATION OF DYNAMICS | STUDY OF THE QUALITIES AND TYPOLOGIES OF THE ORCHESTRAL SOUND |
| STUDY AND APPLICATION OF THE ATTENTION TO THE INSTRUMENTAL AND VOCAL SOLOISTS. | *OTHER ELEMENTS OF IMPORTANCE FOR ORCHESTRA CONDUCTING |
The main goal is the analysis, study, preparation and rehearsal of the symphonic and opera repertoire at the highest levels of artistic and technique excellence.
AREA OF ORCHESTRAL FORMATION
Methodology:practical lessons for every instrumental family, under the direction of a Leader professor.
The Program will embody three main lines of work:
I.- INSTRUMENT FOR THE ORCHESTRAL FORMATION:
Individual master classes, for every instrument and family, with different Soloists Professors from the most prestigious orchestras in Europe.
Soloists will be selected during the first rehearsal, and will immediately engage in partial rehearsals for the preparation of the selected Program.
Young musicians will be conveniently prepared by the Professors Specialists of their respective Instruments, in order to be able and ready to perform the rehearsals with normality upon arrival of the Maestro Conductor
Participants will have at least three days of preparation, consisting on three daily partial rehearsals (3 hours and 30 minutes each, with breaks of 30 minutes in between).
Professors will attend all the Tutti Rehearsals and will continue to supervise the young musicians in successive partial rehearsals according to their respective artistic and technical needs.
II.- ORCHESTRAL FORMATION:
Master classes of Orchestral Formation, Rehearsals and Performances of the whole instrumental group, conducted by Maestro Gómez-Martínez
Tutti Rehearsals will have a maximum length of three hours 30 minutes, with a break of 30 minutes. Maestro will decide the distribution of the time schedule.
Rehearsals will take place daily according to the following framework:
Opcion a) 3 partial rehearsals.
Opcion b) 2 Tutti rehearsals + 1 Partial Rehearsal.
Opcion c) 2 Tutti rehearsals (no Partial Rehearsals).
*The choice of the sort of rehearsal framework will be determined according to the needs of the works in course.
III.- CONCERTS AND OPERA IN CONCERT
- Extraordinary Concert
- Vocal and instrumental recitals
- Recordings for Radio and Television
- Closing Concerts
The main goal is the analysis, study, preparation and rehearsal of the symphonic and opera repertoire at the highest levels of artistic and technique excellence, with conclusion in the final Concert.
AREA OF PIANO – SOLO INSTRUMENT IN ORCHESTRA
Methodology: individual practical lessons for Active Pianists, under the direction of Maestro Joaquín Achúcarro.
The lessons will be given individually to each pianist Active Participant. After consolidation of repertoire, individual rehearsal sessions with the Orchestra, with attendance of Auditing participants.
Concerto for Piano and Orchestra by E. Grieg is a mandatory piece of repertoire for those pianists willing to perform at the Concerts with piano and orchestra. It is also a mandatory requisite in order to be awarded the “Certificate of Excellence”.
For all other pianists, this Concerto is optional.
I.- PROGRAMME
- Technical fundaments of the piano
- Practice and study of the repertory
- Study and analysis of the scores of the course.
- Study of the interpretation and expression of the works of repertory
II.- CONCERTS
- Extraordinary Concert
- Recitals of Voice and Solo Instrument
- Closing Concert
- Recorgdings for Radio and Television
The main goal is the analysis, study, preparation and rehearsal of both the Piano and Piano with Orchestra repertoires selected for the Concert.
AREA OF CORREPETITION
Methodology: individual practical lessons for Active Correpetitors, under the direction of Maestro Borja Mariño. The lessons will be given individually to each correpetitor Active Participant. After consolidation of repertoire, individual rehearsal sessions with Singers and Orchestra, with attendance of Auditing participants.
PROGRAM FOR THE IMMC CORREPETITION
- Approach to the study of Opera at the piano
- The Orchestral Reduction
- Performance techniques for different instrumental textures and tones
- Programming
- Repertorist, Reviewer and Correpetitor: their roles
- Rehearsal Dynamics
- Study of the Repertory
- Work with the singer
- Assemblage, at the piano, with singers, of a chosen Opera
The main goal is the analysis, study, preparation and rehearsal with correpetitors, singers, and orchestra of the Opera Repertoire selected for the final Concert.
The aim is the the application of the diverse formulas of Correpetition and the development of the principal disciplines engaged in the dynamics of Opera rehearsals between pianists, Musical Director and singers.
AREA OF VOICE
Methodology: individual practical lessons for every Active Singer, under the direction of the Professors of the Area, all of them artists of recognized international prestige and with great experience in Opera.
The lessons will be given individually to each Singer Active Participant. After consolidation of repertoire, individual rehearsal sessions with Correpetitor, Artistic Director and Orchestra, with attendance of Auditing participannts.
I PROGRAMME IMMC VOICE
- Technical and artistic improvement of singing
- Improvement in the interpretation for Opera
- The work at the Opera rehearsal
- The “putting together” of Opera
Cast of the Opera and covers for soloists
*To be determined after selection:
Singers selected among the Participants in the IMMC of Voice by the Professors of the Area
| Dramatic Soprano | Lirico-Spinto Tenor |
| Dramatic Baritone | Mezzosoprano |
| Lyric Tenor | Bass |
| Lyric Tenor | Light Soprano |
| Light Tenor | Choir |
II.- CONCERTS
- Voice Recitals
- Opera at Concert
- Recordings for Radio and Television
The goal is the analysis, study, preparation and rehearsal with correpetitors, conductor and orchestra of the Opera Repertoire selected for the final Concert.
The practical development of different Opera singing techniques according to roles and voices, as well as on the rehearsal dynamics connecting singer, correpetitor, artistic director and orchestra will be subject of special attention.
AREA OF COMPOSITION
I.- THEORETICAL/PRACTICAL LESSONS IN CONTEMPORARY COMPOSITION
TECHNIQUE ANS ANALYSIS IN COMPOSITION
The participant Composers will carry out an individualized work with Maestro Antón García Abril, and will also be actively involved in any joint or collective projects that may be included in the program.
All Composers will have the grade of Active participants in the development of the IMMC.
The theoretical-practical lessons will be developed with following structure:
- Exposition
- Analysis of scores
- Technical and creative work
- Study
- Audition
Methodology (based on the study and the practice of the process of composition of the Musical Work for Symphony Orchestra):
- Analysis of the different styles of contemporary composition
- Procedures used for Composition in the XX and XXI centuries
- Techniques of orchestration
- The instruments of the orchestra
- Dealing with the instruments of the orchestra as an ensemble
- Dealing with the instruments of the orchestra as soloists
- the piano
- the guitar
- the harp
- the voices
- Inspiration and technical work
- Melody, Harmony, Rhythm, and the absence of one or all of them.
- Relationship between Composer and Performer: Soloist, Chamber musicians, Orchestra musicians, Conductors.
II.- THEORETICAL LESSONS OF COMPOSITION TECHNIQUES
HISTORY, THECHNIC, STYLISTIC of the composition in the different styles::
- Classic, Romantic, Contemporary, Random Music, Dodecaphonic, Atonal.
- Scenic Music, Opera, Operetta, Zarzuela, Ballet, Cinema, Television.
Participants will work in close and direct contact with all the Maestros, all of them recognized international prestige, who will preside and oversee the interactive Conferences and Debates about each of the areas and fields of Composition integrated in the IMMC. Contents:
- Different styles in modern composition
- Composition methods, techniques and procedures in History
- Composers lecturing at IMMC: Presentations about their own particular styles and approaches to composition
- Relation and presentation of the Lecturing composers’ work.
- Analysis of the Lecturing composers’ work
- Auditions of the studied works
- Open discussions, debate and questions about the above-listed issues
- Personal interviews with Lecturing composers, for comments, questions or further discussion