Jorge Jiménez (ES)
Artist’s message to visitors
In 1996, I heard Bach's Goldberg Variations for the first time in Glen Gould's famous version on a simple cassette recorder. Since then, this wonderful composition has not let me go. At first, I resigned himself to the fact that as a violinist I would never be able to play this work. But over time I realised that several voices could sound at the same time on the violin, as Johann Sebastian Bach exemplifies in his six famous partitas and sonatas for solo violin. Finally, I set to work and began to transcribe one of the most complicated piano pieces of the Baroque into a piece for solo violin. This was like downsizing, like trying to fit all the furniture of the Palace of Versailles into a tiny, charming studio flat in the centre of Paris: One must choose the best pieces furniture and try to keep the feeling of the big room in the small new space.
My artistic mission
With more than 20 years of experience working with the best artists and ensembles in Europe, with great knowledge of this repertoire and exhausting all the technical possibilities of my instrument, I aim to export the best music and most exciting compositions to the language and sound world of the baroque violin and offer to the audiences a new way of listening to this music and instrument.
Recording: Radio Slovenija
Chat with Jorge Jiménez (ES)
Questions to artist
With questions to artists and their answers, we want to bring visitors closer to the role of the artists in society, their views and work. There will be too little time on the upbeat to touch on everything that interests you. Upbeat visitors are invited to focus the conversation on those issues that are more interesting to you. You are invited to provide us with additional questions in advance, which we will present to our artists. All the answers of the artists will be collected in a special publication, which will be published at the end of this year's festival. Questionnaire consultants: Vesna Volk (Radiotelevizija Slovenija) and Marina Žlender (Glasna Magazine).
The questions are formulated in three sets: an artist as a person (what your normal day looks like when you are not traveling, what your work on the instrument looks like, what your work with young people looks like and how you perceive their attitude towards music, how you convey it to them), preparation of the programme (how you plan the programming concept, where and how you capture ideas for designing a concert programme and what obstacles you face, how you design a concert programme, how you meet other artists, how you get involved in other ensembles and what it looks like when you put together your own ensemble, how you approach and research archives, how you are received by the institutions that care for this cultural heritage, and what problems you face in the phase when you are looking for and choosing works for the programme), the power of art (how music and any other art can contribute to a better society, what is the impact of art on the challenges of politics and environmental protection, how art can defy state violence against freedom of expression, what are your experiences, how you see the future of art and what its role is in shaping society in the coming centuries, how you see the development of the field we call early music in the coming decades).
Brežice, Brežice Castle
Brežice Castle is a splendid example of fortified Renaissance castle architecture on a plain with four mighty round defence towers and spacious courtyard. Interior of fortified castle has lavished baroque paintings.