Concierto con artistas finalistas del concurso Gold Medal del RNCM en Manchester, UK 9 de Abril de 2014. Obras de Britten, Berg y estrenos absolutos de compositores: 

Conservatorio de Música de Murcia, Spain. 

Pianista: Pilar Beltrán

BRITTEN·SEPHESTIA'S LULLABY. Rosie Middleton, voz

This is the studio recording of Geoffrey Gordon's Vermilion for tenor trombone and piano, after the painting by Matisse, featuring trombone soloist Håkan Björkman (Principal trombone, Swedish Radio Symphony Orchestra and Chamber Orchestra of Europe) and pianist Pilar Beltran. 

Recorded 11 September, Royal College of Music, 
Stockholm, Sweden - Sound engineer: Jan-Olof Gullö, RCM.

PROGRAM NOTE:

"I wouldn't mind turning into a vermilion goldfish" said renowned French artist, Henri Matisse (1869-1954), whose predilection for exploring and using colour and composition in unique and vibrant
ways fills his paintings with bold colours and techniques associated with the Fauvist Art movement. The thoughts of the painter Paul Gauguin were known to Matisse: writing about art and color, Gauguin said “How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure ultramarine; these red leaves? Put in vermilion”. To his students, Matisse spoke not of red or orange, but vermilion. From around 1912, goldfish, which had been introduced to Europe from East Asia in 17th century, became a recurring subject in the work of Matisse. They appear in no less than nine of his paintings, as well as in his drawings and prints. For Matisse, the goldfish came to symbolize a tranquil state of mind and a lost paradise. Visiting Tangier, Matisse had been intrigued to see how people would daydream for hours, gazing into goldfish bowls. In his paintings, the goldfish immediately attract attention, due to their colour: vermilion. The bright red-orange, so evident and seemingly bursting with its components of red and yellow fused in a dense complicated colour, contrasts strongly to surrounding blues and greens, each made brighter by the presence of the other.

GORDON - Vermilion  (studio)

This is the studio recording of Geoffrey Gordon's Vermilion for tenor trombone and piano, after the painting by Matisse, featuring trombone soloist Håkan Björkman (Principal trombone, Swedish Radio Symphony Orchestra and Chamber Orchestra of Europe) and pianist Pilar Beltran.

Recorded 11 September, Royal College of Music, 
Stockholm, Sweden - Sound engineer: Jan-Olof Gullö, RCM.

PROGRAM NOTE:

"I wouldn't mind turning into a vermilion goldfish" said renowned French artist, Henri Matisse (1869-1954), whose predilection for exploring and using colour and composition in unique and vibrant
ways fills his paintings with bold colours and techniques associated with the Fauvist Art movement. The thoughts of the painter Paul Gauguin were known to Matisse: writing about art and color, Gauguin said “How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure ultramarine; these red leaves? Put in vermilion”. To his students, Matisse spoke not of red or orange, but vermilion. From around 1912, goldfish, which had been introduced to Europe from East Asia in 17th century, became a recurring subject in the work of Matisse. They appear in no less than nine of his paintings, as well as in his drawings and prints. For Matisse, the goldfish came to symbolize a tranquil state of mind and a lost paradise. Visiting Tangier, Matisse had been intrigued to see how people would daydream for hours, gazing into goldfish bowls. In his paintings, the goldfish immediately attract attention, due to their colour: vermilion. The bright red-orange, so evident and seemingly bursting with its components of red and yellow fused in a dense complicated colour, contrasts strongly to surrounding blues and greens, each made brighter by the presence of the other.

Vermilion Geoffrey Gordon

GRIEG. Cristina Toledo y Pilar Beltrán

Recording  in The Banff Centre of Arts, Alberta. Canada. August 2018

My Residencies in The Banff Centre was located in the Leighton Artists´ Studios Independent Residency area. A sacred places offer to delve into our work as well the option to engage within the Banff Centre community. A unique experience I will keep in the bottom of m heart !

Audio engineers: Henry Ng , James Clemen-Seely and Albert Picknell

Recording in grand piano concerto Steinway & Sons

La maja y el Ruiseñor. E. Granados. The Banff Centre of Arts and Creativity, Alberta. Canada.

Grabación realizada en Madrid en Agosto 2016. Infinity estudio.  Piano: Pilar Beltrán. Voz: Cristina Toledo

Fotos sacada con el pianista Julius Drake después de una de sus master class en Teatro Real.

DIE NACHTIGAL. Alban Berg. Cristina Toledo y Pilar Beltrán. Madrid 2016.

Performed by Emily Mowbray (mezzo), Pilar Beltran (piano) and Maya Kashif (cello).  Text by Sarah Pepin. 

This piece was the winner of the 2013 RNCM Rosamund Prize.

Par coeur


Mantras of imperfection,
I will sing the harps of your soul.

How your neck bone ties in with your moles,
how your nails tango around your wrists: soft,
rhythmic, relentless. I will recite it with a smile: 
how your neck hair reminds of Ein Gedi waters.

The edge of your eye; paradise lost, found. 
Humming birds in your cheeks, 
your chin inconsistent 
escaping the sounds.

How I am counting your eyelashes
and straddling the marble skin, 
arching over shoulder blades
                                                          complete.

The ballad of your crackled lips 
your ears curled back, leaned in your skull.
The echoes of your pristine spine, 
the veins of your smile. Yes.


La maja y el Ruiseñor. E. Granados. The Banff Centre of Arts and Creativity, Alberta. Canada.

Pilar Beltran

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