Laia Martín, pianist, Artistic Director of Puigcerda Music Festival, Founder +Q INTéRPRETES, enterpreneur

Interested in performance, research, management, and education, she has developed her artistic career and completed studies in various areas of music. She completed her Bachelor’s degree in piano at the Liceu Conservatory of Music in Barcelona with Stanislav Pochekin. She finished a Master in Musical Performance degree with honours at the Conservatory F. Venezze in Rovigo, Italy, with Massimiliano Mainolfi and Oxana Yablonskaya, and a Master in Music Research degree at the Valencia International University. She is completing a PhD in Music Performance at the Aveiro University, Portugal, with Luca Chiantore. She performed her first recital for Jeunesses Musicales Spain. Since then, she has performed in several halls in Spain, as well as in Germany, Italy, France, Andorra, Portugal and Israel. She is piano teacher at the Issi Fabra Music School at the Pirineus Music Conservatory and music history teacher at the Universitat Oberta de Catalunya. She is the director of the Puigcerda Music Festival and of the Conference on Artistic Research in Music of the Pyrenees. Together with Mari Carmen Fuentes she is one of the founders and hosts of the +Q INTéRPRETES YouTube talk-show.

CONCERT PROGRAM
Title
Without Distances: a performative proposal regarding a selection of Domenico Scarlatti Sonatas transcribed by Enrique Granados

Sonata in g major K. 520
(fragment) D. Scarlatti Silvia Márquez, fortepiano Anton Walter end of 18th Century, copy by Eckehart Merzdorf
Sonata nº 1 Scarlatti/Granados

2. Sonata in g major K. 522 (fragment)
D. Scarlatti Efrem de Montellà, organ Gabriel Blancafort from 1992 Sonata nº 3 Scarlatti/Granados

3. Sonata in g minor K. 102 (fragment)
D. Scarlatti Roger Illa, fortepiano Anton Walter ca. 1803, copy by Paul Poletti Sonata nº 7 Scarlatti/Granados

4. Sonata in d major K. 534 (fragment)
D. Scarlatti Laura Puerto, harpsichord Andreas Ruckers from 1624, copy by Titus Crijnen Sonata nº 12 Scarlatti/Granados

5. Sonata in d minor K. 552 (fragment)
D. Scarlatti Josep Maria Mas Bonet, organ Gerhard Grenzing from 1983 Sonata nº 21 Scarlatti/Granados

6. Sonata in d major K. 535 (fragment)
D. Scarlatti Pablo Márquez, harpsichord Andreas Ruckers from 1624, copy by Titus Crijnen Sonata nº 14 Scarlatti/Granados Laia Martin, piano
7. Sonata in c minor K. 139 (fragment)
D. Scarlatti Roger Illa, fortepiano Anton Walter ca. 1803, copy by Paul Poletti Sonata nº 24 Scarlatti/Granados

8. Sonata in f minor K. 555 (fragment)
D. Scarlatti Pablo Gómez Ábalos, clavecin roïal Johann Gottlob Wagner from 1774, copy by Kerstin Schwarz Sonata nº 16 Scarlatti/Granados

9. Sonata in f major K. 540 (fragment)
D. Scarlatti Manuel Rodrígeuz Solana, organ Albert Blancafort from 2019 Sonata nº 6 Scarlatti/Granados

10. Sonata in f major K. 518 (fragment)
D. Scarlatti Josep Maria Mas Bonet, organ Gerhard Grenzing from 1983 Sonata nº 4 Scarlatti/Granados

11. Sonata in f major K. 541 (fragment)
D. Scarlatti Laura Granero, “Cimbalo di martelletti” Bartolomeo Cristofori from 1726, copy by Denzil Wraight Sonata nº 5 Scarlatti/Granados

12. Sonata in b flat major K. 190 (fragment)
D. Scarlatti Eudald Dantí,organ Gabriel Blancafort from 1996 Sonata nº 9 Scarlatti/Granados
13. Sonata in b flat major K. 528 (fragment)
D. Scarlatti Oxana Yablonskaya, grand piano Weber from 1870 Sonata nº 23 Scarlatti/Granados

14. Sonata in a major K. 536 (fragment)
D. Scarlatti Àngel Villagrasa, harpsichord Guido Bizzi from 2005, copy of an italian model Sonata nº 26 Scarlatti/Granados

15. Sonata in a minor K. 109 (fragment)
D. Scarlatti Luca Chiantore, square piano Miguel Slocker from 1831 Sonata nº 19 Scarlatti/Granados

16. Sonata in a minor K. 110 (fragment)
D. Scarlatti Pablo Gómez Ábalos, clavichord Schiedmayer from 1795, copy by Kerstin Schwarz Sonata nº 11 Scarlatti/Granados

FORUM PRESENTATION
Title:
Without Distances: an example of Artistic Research in Music applied to classical repertoire”
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Abstract
Without Distances is included into “Artistic Research IN the music”, one of the four frameworks in which doing research connected to music have been proposed by Luca Chiantore (2020). In it, research itself generates the artistic product. But other conditions have also been suggested by the same author to turn our research into Artistic Research. In this paper I will address a brief introduction to this field, as a way of doing research in classical music performance to create new knowledge, and I will introduce my research regarding Domenico Scarlatti sonatas transcribed by Enrique Granados, as an example of it. Enrique Granados, in his role as a transcriber, published 24 transcriptions of Domenico Scarlatti’s sonatas in 1905. The diversity of this publication represents an opportunity for the actual performer to construct their own performance based on a reconfiguration of the recital format and the concept of the cycle. This is what I consider in Without Distances, which includes a concert proposal where my performance of these Granados transcriptions on the piano interact with the first bars of the corresponding Scarlatti sonatas recorded on diverse historical keyboard instruments by other performers. The use of technology and the collaboration with other instrumentalists allows my performance to be influenced by practices from various traditions, by the timbre of the keyboards of different eras and by the interaction with the recordings. On the other hand, the characteristics of the digital reproduction of the music acts as a bridge between the experimental processes of creation and the new paradigms of the so-called digital listening, that thus burst onto the scene.