1995 - 1991Next >> 
Marturet had an ovation with Schubert (Symphony No. 5)
Diario de Navarra, Pamplona - Jun. 13, 1995

Marturet never exaggerated the sacred feeling, presenting the symphony (Brahms' 3rd) with style and elegance.
Berliner Morgenpost, Berlin - Feb. 22, 1994

The real highlight was the performance of the Second Symphony - Marturet stuck very conscientious to the score but gave the orchestra enough freedom to make music. The spirit of Brahms sounded throughout the whole symphony.
Haarlems Dagblad, Haarlem - Feb. 23, 1993

Eduardo Marturet made an excellent impression. Both the Tragic Overture and the Second Symphony sounded because the fortunate combination of South-American temperament and German 'Grundlichkeit' in a very dark glowing Brahmsian way.
Limburgs Dagblad, Limburg - Feb. 18, 1993

Marturet's interpretation of Brahms draws people attention. His Third Symphony, the lesser known of the four, sounded fresh, striking in tempo and articulation. The orchestra followed the conductor's extravagant gestures achieving great moments.
Der Tagespiegel, Berlin - Nov. 4, 1992

Accardo played Brahms accompanied by Marturet more expressive and theatrical than ever, once again the perfect match for an important soloists.
El Nacional, Caracas - Dec. 2, 1991

Humanity and musicality in big affinity - Marturet conducting Tchaikovsky for a sold-out house.
Bad Salzuflen - Feb. 25, 1991

Marturet, conducted the NWD Philharmonie full of agility and emotion, with so much sensitivity that even the percussion attacks were lyrical happenings.
Detmold - Feb. 21, 1991

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>> 1995 - 1991


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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