UNAM Music presents: Alexander Malofeev opens the 2025 International Piano Festival
Seventh edition of the International Piano Festival 2025 from February 6 to March 6.
Thirteen pianists from America, Europe and Asia will participate.
Concerts will be offered with the UNAM Philharmonic, the OJUEM, recitals and master classes.
In its seventh edition, the International Piano Festival is part of the Music and Environment Water theme, which will articulate the activities of Música UNAM in 2025. This festival will bring together outstanding national and international pianists and will offer a sound tour of works by composers of different styles and geographies. Through this meeting, the public will be able to explore the way in which water, an essential element of nature, has been used as a concept in different times and contexts for the creation of musical works.
Thirteen pianists from different countries will participate from February 6 to March 6. There will be four programs with the UNAM Philharmonic Orchestra (OFUNAM) as part of its First Season 2025, as well as a concert with the Eduardo Mata University Youth Orchestra, in addition to ten recitals and three master classes.
The artists invited in order of appearance are Alexander Malofeev (Russia), Ricardo de la Torre (Mexico), Anne-Marie McDermott (United States), Héctor Rosete (Mexico), Alejandro Barrañón (Mexico), María Dolores Gaitán (Spain), Alberto Ismael Castillo (Mexico), Rafael Omar Salgado (Mexico), Katya Trejo (Mexico), Citlalli Guevara (Mexico), Slavina Zhelezova (Bulgaria), Claudia Corona (Mexico) and Duane Cochran (United States-Mexico).
Anne-Marie McDermott (United States)
Thursday, February 13, Nezahualcóyotl Hall, 8:00 pm. $150 pesos
In her recital, Anne-Marie McDermott will tackle a repertoire that explores keyboard music from the Baroque to the Romantic period. Johann Sebastian Bach’s English Suite No. 2, composed between 1715 and 1720, is part of a cycle of six suites that, despite their name, have no direct connection to the English music of the period, but bring us closer to the composer’s contrapuntal mastery. Similarly, Bach’s Chaconne in D minor in the piano transcription made by Ferruccio Busoni at the end of 1890, is originally part of the Violin Partita No. 2 and represents an example of the continuous variation on an obstinate bass, a form that Bach used to explore the technical and expressive possibilities of the instrument. The programme will end with Johannes Brahms’ Variations and Fugue on a Theme by Handel. Composed in 1861, this work is a set of variations on a theme from a harpsichord suite by Georg Friederich Händel. Brahms dedicated it to Clara Schumann as a birthday present.
