2000 - 1996Next >> 
Marturet discovered the sinister side of the genius ravelian orchestration. The same cult of a sumptuous sonority, extremely sensual, produced extraordinary results in Valses Nobles et Sentimentales and specially in the very famous Bolero in an overwhelming interpretation.
El Mundo, Caracas - Jun. 6, 2000

Eduardo Marturet un bon Brahmsien
Répertoire No. 133 - Mar. 1, 2000

The Venezuelan conductor Eduardo Marturet and the Staatskamerorkest van Pardubice played a sublime Mozart.
Breda - Mar. 5, 1996

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>> 2000 - 1996


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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