2005 - 2001Next >> 
Marturet, with absolute control and confronted with the expected difficulties of a fantastic score, Ginastera's Variaciones Concertantes, conducted the group marvelously leaving plenty of freedom for each and everyone of the soloists. It was a good occasion to prove, once more, the phenomenal ability of Ginastera, but also the conductor's trustworthy and the many talents of the Philharmonic's musicians.
La Nación, Buenos Aires - May 29, 2004

As a recognition to his ability and that of the musicians, the orchestra sounded serene, classical, stable and musical. The second movement, with its caracteristical shifts of schubertian tonality, enjoyed a truly happy reading.
La Nación, Buenos Aires - May 22, 2004

The Berliner Symphoniker played a spicy programme under the direction of their Venezuelan conductor Eduardo Marturet showing a rare capacity to play Elgar's Enigma Variations with great sensitivity, color, vitality and flexibility.
Der Tagespiegel, Berlin - Aug. 27, 2002

Verklärte Nacht by Arnold Schönberg, an extremely inspired score for string orchestra, written before his serial explosion. The interpretation by Marturet and the OSSB stood at the highest level.
El Mundo, Caracas - Jul. 30, 2002

Eduardo Marturet, since years permanent guest conductor of the Berliner Symphoniker, just recorded 3 CDs with the orchestra and will conduct 3 concert programmes on the Latin American tournè. Among them, Brahms' Second Symphony, just performed at Berlin's Philharmonie, shines rich in contrasts.
Berliner Morgenpost, Berlin - Nov. 24, 2001

The Berliner Symphoniker, full of temperament, in their Latin American tournč, with the Venezuelan conductor Eduardo Marturet with his conducting style, with great contrasts, his great gestures, his great podium presence, and, his speeches about friendship among the nations, bewitched the audiences.
Berliner Morgenpost, Berlin - Nov. 18, 2001

Sustained by the strong melodic stream, Brahms' Second Symphony sounded both sensitive and passionate; likewise the wild, ardent and involved interpretation of Beethoven's Seventh by Eduardo Marturet at Caracas' Teresa Carreño Theatre.
Berliner Morgenpost, Berlin - Nov. 1, 2001

en español



The Challenge of Excellence by Eduardo Marturet (135 KB)
 Motivated by a series of reflections spanning my career as Orchestral Conductor, I have tried for the past 30 years to stay in touch with my colleagues, the musicians with whom I work on a daily basis with the desire to continue perfecting and evolving our noble art. Paradoxically, as these artistic differences between the European and Latin American orchestras are confirmed, we also find that the latter (orchestras) are usually much more involved, demonstrating increased interest and mysticism in their professional endeavors. It is because of this degree of enthusiasm demonstrated by my colleagues that I have decided to pursue these ideas in order to share with them the possibility of turning the Latin American symphonic dream into a reality.

The Farewell Soundtrack by Leonardo Padrón (28 KB)
I have always liked to think that, if the soul has a sound, it is music. There is something otherworldly about music; it is so laden with wind, with mystery and, at the same time, with so much humanity. Aldous Huxley once said that, after silence, music is the closest thing to expressing the inexpressible. That is why music cannot be told. Words are merely a severe, uninspired instrument for doing so. That is why I feel uneasy about trying to convey the significance of the soundtrack that Eduardo Marturet composed for Diego Rísquez’s movie about one of the women most representative of Latin American courage: Manuela Sáenz.

Interview from Horizons Magazine by Emilio Lovera by Federico García (45 KB)
“We must understand and be willing to accept that a Latin American orchestra will never sound like an European one. Never!”

Eduardo Marturet: The Philharmonic's Next Guest by Cecilia Scalisi (28 KB)
The future of music is that we are going through a transitional stage of great historical transcendence in the evolution of the musical scenario.

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