25 años dando la nota / 25 years striking a the right note

Reportage published in Issue 2 of Luces de Cultura magazine (Ministry of Culture, July-August 2008)


Interview
Reportage


Interview with José Luis Turina, Artistic director of JONDE


Question: Currently, as JONDE celebrates its 25th anniversary, has the orchestra managed to consolidate itself both as a training ground for young musicians and as a "bridge" between academic and professional life?
Answer: The objective that motivated its creation has been fully achieved. JONDE is not only an outstanding training platform, but there is also a growing number of professional orchestras that turn to us seeking musicians to fill temporary vacancies. Furthermore, the number of permanent staff in various orchestras who were once members of JONDE continues to increase.

Q: JONDE was considered a pioneering institution in Spain when it was founded. In your view, what should be the key objectives for the coming years? In other words, what aspects of its operations or goals should be improved or changed for the future? Would it be desirable to increase the number of student spots?
A: Currently, the number of young musicians applying to JONDE is very high (close to a thousand annually, across various specialties). Naturally, the pool of musicians has grown proportionally in recent years, now encompassing around 250 members. Not all can participate simultaneously in the annual programs, and for this reason, it wouldn't be advisable to increase the number of spots since each program requires about 100 musicians.
As for the key objectives for the coming years, JONDE must address its main unresolved issue: international projection. When it was created, it needed to immediately address the gaps in our musical education system. Now that this has been achieved, and with at least one youth orchestra established in each autonomous community, JONDE should focus on showcasing abroad the exceptional quality of young Spanish musicians, whose standards are continually rising and have yet to reach their peak. It's simply a matter of budget, which I hope will be resolved soon.

Q: Spain has long been called a nation of painters and poets. How has this perspective evolved over the past quarter-century, given the significant progress in building modern auditoriums in Spain, alongside the ongoing work of conservatories and the creation of new professional orchestras?
A: It's clear that the trend now is for the quantity and quality of musicians to surpass those of other artistic expressions. In my view, this is due to a series of interconnected developments in Spain during the last two decades of the 20th century. The construction of auditoriums led to the formation of orchestras to give them purpose. To staff these orchestras, we initially had to rely on a large number of foreign professionals, as our educational system at the time couldn't produce enough qualified musicians. These foreign professionals didn't just perform; they also trained the next generation of musicians. The widespread development of youth orchestras, beginning with JONDE, and the reform of music education to align with international standards were inevitable outcomes of these changes.

Q: Hundreds of musicians have passed through JONDE over the past quarter-century. How has the level of preparation among young musicians evolved during this time?
A: There is one statistic that clearly illustrates the growth in both the quality and quantity of young musicians: 15 years ago, when the panel for the EUYO (European Union Youth Orchestra) toured Europe conducting auditions, they selected only one or, at most, two Spanish candidates. In recent years, the number of Spaniards in the EUYO and other prestigious youth orchestras like the Gustav Mahler or Schleswig-Holstein Festival orchestras ranges between 15 and 20. I believe this is compelling evidence of the high standards achieved by our young symphonic musicians. Furthermore, after the Netherlands and the UK, Spain now has the largest number of candidates applying for these auditions.

Q: Are young performers in Spain now skilled enough to eliminate the need to import foreign musicians? Has Spain established a solid "talent pool" of musicians?
A: As I mentioned earlier, an increasing number of musicians in orchestras were once members of JONDE. This suggests that the talent pool provided by JONDE and the orchestras of the autonomous communities might indeed be sufficient to supply Spanish orchestras with skilled professionals. However, we must not forget that these orchestras are as much European as they are Spanish, which means job postings must be open to all EU musicians. Given the many musicians eager to work in Spain, it's likely that future orchestras will be multinational. That said, talented young Spanish musicians will certainly not lack opportunities, whether in orchestras or in teaching -a field that remains a significant professional avenue.

Q: We've spoken about training, but what is your assessment of the current state of musical composition in Spain?
A: It is widely recognized that Spain is experiencing an excellent period in musical composition. This is evident not only in the number and quality of composers across generations but also in the increasing frequency with which their works are performed by orchestras, chamber groups, and soloists. Furthermore, there are many composition competitions -some of considerable importance- which provide a solid platform for emerging talent.
Most importantly, there is growing interest in contemporary creation among the new generation of performers. A prime example is the JONDE Contemporary Music Academy, an initiative originally launched by the CDMC (Center for Contemporary Music Diffusion) and later adopted by JONDE. The Academy holds an annual session (this year's will take place from June 20–30, culminating in a performance at the CDMC season finale). The enthusiasm with which JONDE members embrace these often-voluntary programs far exceeds our expectations.
Of course, contemporary creation in Spain still faces challenges, but there is an encouraging trend toward normalizing the contemporary repertoire, which we should welcome with optimism.

Q: Over the years, has the audience for music in Spain grown significantly? Has music finally achieved the cultural status and importance it deserves among Spaniards?
A: Developing new audiences is undoubtedly one of the major challenges for the music scene -not just in Spain but globally. Various institutions, especially orchestras, are running educational programs to ensure that today's children, teens, and young adults will become tomorrow's concertgoers. This raises the question of whether traditional approaches to presenting music are the most effective for reaching new audiences or whether these methods need to be "modernized" in some way.
In my view, as long as the integrity of the music -its essence- is preserved, we can experiment with the presentation formats as much as necessary to broaden its reach.
That said, the attention given to music in general education remains insufficient. This is likely the crux of the issue: the longstanding and inexplicable disconnect between education and culture in our country.



25 years striking the right note


Concerts for an Anniversary

The National Youth Orchestra of Spain (JONDE) is celebrating 25 years of training young Spanish musicians. Since its founding in 1983 under the auspices of the National Institute for Performing Arts and Music (INAEM), hundreds of young talents have had the opportunity to refine their skills through the study and performance of symphonic and chamber repertoires, guided by renowned instructors. The initiative's objectives have been successfully achieved, as evidenced by the remarkable quality of Spanish instrumentalists today.

JONDE will commemorate its 25th anniversary throughout this year and 2009. To mark the occasion, a special event centered around Gurrelieder by Arnold Schoenberg -one of the most expansive works ever composed for orchestra- will take place this summer. The concerts are scheduled for July 25 in Zaragoza and July 27 in Barcelona. The orchestra, formed in collaboration with the National Youth Orchestra of Catalonia, will be conducted by Josep Pons and joined by four choirs and six soloists, with over 300 musicians on stage.
Additionally, JONDE's Contemporary Music Academy will hold a session with Peter Rundel, one of the most acclaimed contemporary music conductors. This event will culminate in two concerts: one on June 29 at the Palacio Castillo de Magalia (Las Navas del Marqués, Ávila) and another on June 30 at the auditorium of the Museo Nacional Centro de Arte Reina Sofía in Madrid.

"The goal behind JONDE's creation has been fully achieved". José Luis Turina de Santos, Artistic Director of the National Youth Orchestra of Spain, confidently affirms the success of this initiative as it celebrates its 25th anniversary. JONDE was founded in 1983 under the INAEM -a body of the Ministry of Culture- with the mission of contributing to the training of young Spanish musicians. At the time, it was considered a pioneering institution in Spain.
JONDE's artistic leadership has been entrusted to Edmon Colomer (1983–95), Llorenç Caballero (1995–2001), and, since 2001, José Luis Turina, who was awarded the National Music Prize in 1996.
Over the past 25 years, hundreds of young musicians have had the chance to expand and refine the training they received in academic institutions through the study and performance of symphonic and chamber music. The orchestra was created to address the significant shortcomings in Spain's musical landscape at the time.
Thankfully, the situation has changed considerably for the better, though some challenges remain. Currently, close to a thousand young musicians apply annually to join JONDE in various specialties. As a result, the orchestra's pool of instrumentalists has grown proportionally and now includes around 250 members. During this time, the number of staff musicians in other orchestras who were once part of JONDE has also risen significantly.


A quantitative and qualitative leap

The progress achieved by JONDE over the years has been not only quantitative but also qualitative. Twenty-five years ago, the primary goal was to meet the demand for professionals, addressing Spain's historical underdevelopment in music and establishing a solid foundation of skilled instrumentalists. Today, the situation has shifted substantially.
The evidence is compelling: in the past, when an international panel toured Europe conducting auditions for the European Union Youth Orchestra (EUYO), they would select, at most, two Spanish candidates. Today, the number of Spanish musicians in the EUYO and similar orchestras, such as the Gustav Mahler and the Schleswig-Holstein Festival orchestras, ranges between 15 and 20. "I believe this is a clear demonstration of the high level achieved by our young symphonic musicians", remarks José Luis Turina. Spain is now the country with the third-highest number of candidates for these auditions, behind only the Netherlands and the United Kingdom.


JONDE holds five annual woking periods

As part of its educational mission, JONDE organizes five working periods each year during non-academic and holiday periods. During these sessions, each orchestra member works through a rigorous program under the guidance of internationally renowned instructors. The aim is to deepen their instrumental skills through symphonic and chamber repertoires, allowing participants to immerse themselves in symphonic and chamber music.
Additionally, JONDE's Contemporary Music Academy schedules regular working periods, often featuring live interactions with composers, further enriching the musicians' exposure to modern repertoires.


Nearly a thousand young musicians apply annually

This intensive training program has had a significant impact on the broader musical landscape in Spain. "It is universally acknowledged that Spain is experiencing an excellent period in musical creation", says Turina, who highlights not only the number and quality of contemporary composers but also the frequency with which their works are featured in the programs of orchestras, chamber ensembles, and soloists across the country.
"Most importantly, there is a growing interest among younger generations of performers in contemporary creation", he adds. This has been bolstered by JONDE's collaborations with renowned soloists, including Mstislav Rostropovich, Rafael Orozco, Teresa Berganza, María Bayo, John Williams, and Juan Diego Flórez, among others. The orchestra has also been led by acclaimed conductors such as Carlo Maria Giulini, Jesús López Cobos, Peter Maag, Josep Pons, and Vasily Petrenko.


International projection: the great challenge

Looking ahead, José Luis Turina emphasizes that JONDE's major challenge is achieving greater international recognition. "When it was established, JONDE had to immediately address the educational gaps in our musical system. Now that this has been resolved, and with at least one youth orchestra in each autonomous community, JONDE should take the lead in showcasing abroad the outstanding level of young Spanish musicians, which continues to grow and has yet to reach its peak. It is simply a matter of budget, which we hope can be resolved soon".
Over its 25-year history, JONDE has performed at major festivals and venues across Spain, maintaining close partnerships with events such as the Alicante International Contemporary Music Festival and the Cuenca Religious Music Festival.
On the international stage, JONDE has toured extensively in countries such as Belgium, Russia, Ukraine, Estonia, Hungary, France, the United States, Italy, the United Kingdom, Portugal, Luxembourg, Germany, the Netherlands, and Austria. These tours have allowed the orchestra to perform in some of the world's most prestigious concert halls, further solidifying its reputation as a leading ensemble.