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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: (+351) 234 370 389 (ext. 23700)

Biography

Pianist interested in performance, research, management, and education, Laia Martín 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 and in chamber music with Albert Atenelle in 2009. She finished an Artistic Master’s degree in Musical Performance with honours at the Conservatory “F. Venezze” in Rovigo, Italy, with Massimiliano Mainolfi and Oxana Yablonskaya in 2014, and a Master in Music Research degree at the Valencia International University (VIU) in 2016. She is completing a PhD in Music Performance (PhD) at the Aveiro University, Portugal, with Dr. Luca Chiantore.
At the age of 17, Laia performed her first recital for Jeunesses Musicales Spain. Since then, she has performed in several halls in Spain, as well as halls in Germany, Italy, France, Andorra, Portugal and Israel.
She is teacher and accompanist at the Issi Fabra Music School in Puigcerda and at the Pirineus Conservatory. Since 2013 she is the executive director at the Puigcerda Music Festival. 
 
 
 
 
 
DOCTORAL PROJECT
 
Title
Without distances: A performance proposal regarding Domenico Scarlatti’s sonatas transcribed by Enrique Granados.
 
 zz-teseLaia4
 
Supervisors
 
Abstract
Enrique Granados, in his role as a transcriber, published 24 transcriptions of Domenico Scarlatti’s sonatas in 1905. However, Granados wasn’t the only one to do this. From 1785 to 1942, at least 42 pianists published their own editions and transcriptions. Its comparative study highlights the various degrees of intervention in these publications, on occasion under the same name, as in the case of Granados. On the other hand, the diversity of this publication in particular represents an opportunity for the actual performer to construct their own performance based on an update of the recital format and the concept of the cycle. This is what I consider in this research, 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.