The synchronization between Marturet and Barbara Hendricks was another demonstration of the conductor's talent.|
El Universal, Caracas - Nov. 8, 1990
The music remained lively throughout the concert due to Marturet's human performance.
STAVANGER VERTLAG - Apr. 28, 1990
There are concerts that remain in our memory - this one deserves to be registered in the history of the "CONCERTO" in Venezuela... Pogorelich, Marturet and the OSV, never to forget.
El Nacional, Caracas - Mar. 4, 1989
This performance under Marturet radiated warmth, was free and natural and at the same time he conducted very clearly. There was contact between the conductor, orchestra and audience. One of the highlights of the season.
Lørdag, Stavanger - Oct. 29, 1988
Here was straight-ahead, virtuosic playing that never got too carried away with itself: No fussing, no eccentric interpretation. Just Shostakovich at full throttle.
Rocky Mountain News, Denver - Jul. 15, 1988
The Venezuelan Symphony Orchestra (OSV) has endured since 1930 to become one of Venezuela's leading symphonic orchestras. Despite the scandal that rocked the local cultural world last year,
with noted Venezuelan composer and conductor Eduardo Marturet (Music Director since Nov.87) at the helm, the orchestra has survived the ordeal admirably and has regained its reputation as one of the nation's best.
The Daily Journal, Caracas - Jun. 26, 1988
...very impressive the CD (Chopin Piano C. No. 1/Adagio Spianatto et Grande Polonaise/FIDELIO8817) Sergio Daniel Tiempo made with the Budapest Symphony Orchestra (Budapest Radio) with Eduardo Marturet as conductor. Its a miracle.
PLATEN, Amsterdam - Mar. 25, 1988
Agile guest maestro! The CJRT Festival Orchestra played along with nimble assurance.
The Toronto Star, Toronto - Mar. 22, 1988
the Gelders Orchestra under the direction of Eduardo Marturet came to excellent results. In Beethoven the orchestra reacted to Marturet's exact beat.
Gelders Nieuwsblad, Utrecht - Mar. 14, 1988
In Gent, Het Gelders Orkest and Marturet were an excellent artistic combination. Great feeling for musical pulse in Beethoven. In Shostakovich
Marturet's energy resulted in great dynamic contrast and orchestral strength.
De Standaard, Gent - Mar. 12, 1988
In Brahms Marturet gave the orchestral parts relevance and structure with much fire. In Shostakovich the south American conductor achieved the ideal instrumental balance.
Arhemse Courant, Holland - Mar. 5, 1988
Marturet HGO conducting outstanding. The accompaniment to Beethoven's Triple Concerto was fresh and open, thanks to an inspired conductor who knows the score really well, leading the orchestra
to a brilliant and exciting finale.
Lochem Nieuwsblad, Holland - Mar. 2, 1988
In reference to new orchestras this year, the Sinfonietta Caracas was the leader. Created by Eduardo Marturet with a conception of real musical excellence.
El Nacional, Caracas - 1987
Beethoven, Triple Concerto Op. 56, Romanza in G Op. 40, Emmy Verhey - Violin, Ofra Harnoy - Cello, Karin Lechner - Piano, Brabant Orchestra, Eduardo Marturet - Conductor, RCA LC 0316.
"As far as this lightness is concerned, the orchestra is a good match, altogether the orchestral part is very satisfactory. The recording is beautiful, though perhaps a bit less brilliant than the famous record with Oistrach, Rostropovich, Richter and Karajan, but very much worthwhile."
Luister Record Magazine, Holland - Dec. 1, 1986
In Beethoven's 5th., Marturet's interpretation was dark and spacious (instead of bright and clear which is what one would expect from a Latin) the work sounded well delineated and balanced. The orchestra (Het Brabant Orkest) played with full dedication. It was a great success.
Brabants Dagblad, Holland - Jun. 14, 1986
A chamber orchestra (Sinfonietta Caracas) directed by Eduardo Marturet is the ensemble of its kind with best interpretative level.
Revista Imagen, Caracas - 1986
Marturet showed his judgement and musicianship all the time, taking great care of the soloist (Rostropovich/OSV) to achieve a good balance.
El Universal, Caracas - 1986
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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