The Butterfly Effect Noelia Rodiles

• Robert Schumann (1810 - 1856): Papillons, op. 2:
• 1 Papillons, op. 2 14:41
• Jesús Rueda (b. 1961): Sonata No. 5, "The Butterfly Effect":
• 2 Sonata No. 5, "The Butterfly Effect": I. Wings 05:34
• 3 Sonata No. 5, "The Butterfly Effect": II. Evanescent 03:31
• 4 Sonata No. 5, "The Butterfly Effect": III. Perpetuum Mobile 04:12
• Felix Mendelssohn (1809 - 1847): Lieder ohne Worte, op. 30:
• 5 Lieder ohne Worte, op. 30: I. Andante espressivo 03:55
• 6 Lieder ohne Worte, op. 30: II. Allegro di molto 02:18
• 7 Lieder ohne Worte, op. 30: III. Adagio non troppo 02:13
• 8 Lieder ohne Worte, op. 30: IV. Agitato e con fuoco 02:44
• 9 Lieder ohne Worte, op. 30: V. Andante grazioso 02:07
• 10 Lieder ohne Worte, op. 30: VI. Venetianisches Gondellied 02:39
• David del Puerto (b. 1964): Seis caprichos sin título:
• 11 Seis caprichos sin título: I. Adagio non troppo 02:50
• 12 Seis caprichos sin título: II. Nervoso 03:30
• 13 Seis caprichos sin título: III. Largo assai 01:50
• 14 Seis caprichos sin título: IV. Agitato 02:46
• 15 Seis caprichos sin título: V. Adagio sostenuto 04:00
• 16 Seis caprichos sin título: VI. Allegro vivace 02:24
• Franz Schubert (1797 - 1828): Dues peces per a piano:
• 17 Adagio in G major, D. 178 05:38
• Joan Magrané (b. 1988): Dues peces per a piano:
• 18 Dues peces per a piano: I. Sostenuto, cristallino 07:12
• 19 Dues peces per a piano: II. Molto adagio (con la complicità di Schubert) 03:30
• Total Runtime 01:17:34

Info zu The Butterfly Effect

On her Eudora debut, pianist Noelia Rodiles brings together three of her favourite Romantic composers (Schumann, Mendelssohn and Schubert) and three of the best-known Spanish composers of recent years (Jesús Rueda, David del Puerto and Joan Magrané). Noelia Rodiles commissioned them to write works freely inspired by Schumann’s Papillons, Mendelssohn’s Lieder ohne Worte, op.30 and Schubert’s Adagio, D178 respectively. The result is a trio of pairs of mutually transformative compositions: not only do the contemporary pieces take their inspiration from the Romantic works, but the 19th-century works also acquire a new colour and focus when juxtaposed with their 21st-century counterparts.

Noelia Rodiles, piano

Noelia Rodiles
Considered a reference for “the most advanced, resolute and affirmative piano playing” (El Cultural), Noelia Rodiles’ performances have been described as “a masterclass in virtuosity and artistic sensitivity, combined with an overwhelming technique” (Bachtrack).

Her concerts are notable for their creative choices of repertoire, which often include works by contemporary composers whom she brings into dialogue with the great classical composers, as well as works recovered by forgotten composers.

Noelia has performed as a soloist with orchestras such as the Orquesta Nacional de España, the Filarmónica de la UNAM (Mexico), the Orquesta de Radio Televisión Española, the Heinrich Heine Orchestra of Düsseldorf (Germany), the Filarmónica de Querétaro (Mexico), the Orchesta de la Comunidad de Madrid, la Orquesta Sinfónica del Principado de Asturias, The Soloists of London or the Oviedo Filarmonía, among others, under the direction of maestros such as Pablo González, Lucas Macías, Víctor Pablo Pérez, Ludwig Carrasco, José Ramón Encinar, Michael Thomas, Ramón Tébar or Silke Löhr.

She has given concerts in halls such as the Wigmore Hall in London, Tonhalle Düsseldorf or the Sala Nezahualcóyotl in Mexico City, as well as the main Spanish halls such as the Auditorio Nacional in Madrid or the Palau de la Música in Barcelona. She is a regular guest at festivals such as the Quincena Musical Donostiarra, the Festival Internacional de Santander, the Schubertíada de Vilabertrán or the Festival Rafael Orozco in Córdoba, as well as at other festivals and venues in France, Germany, the United Kingdom, Italy, Poland, Mexico, Tunisia, Bolivia or Jordan.

In her latest album, Mysterium, described as “a truly sensational CD” (Scherzo), Noelia has recorded Julián Orbón’s Partita No. 4 and the world premiere of Cloches, by Manuel Martínez Burgos, together with the Oviedo Filarmonía Orchestra and maestro Lucas Macías, thanks to a Leonardo Scholarship from the BBVA Foundation.

Her previous albums have received awards such as the Melómano de Oro, the Exceptional Record from Scherzo magazine and a nomination for the Latin Grammys. Among them, we can highlight 1823, with the recovery and first recording of the Piano Sonata by Martín Sánchez Allú, together with Schubert's Moments Musicaux, The Butterfly Effect, with works composed for her by Jesús Rueda, David del Puerto or Joan Magrané together with compositions by Schumann, Mendelssohn and Schubert, both with the Eudora Records label, or Ligeti, Schubert (Solfa Records), for which she was already recognized by critics as “one of the most solid values ​​of Spanish pianism, of international pianism” (Scherzo).

Noelia studied at the conservatories of Avilés, Madrid and Berlin with Ana Serrano, Lidia Stratulat, Ana Guijarro and Galina Iwanzowa, and furthered her studies with Dimitri Bashkirov and Claudio Martínez Mehner at the Reina Sofía School of Music in Madrid, where she was awarded the prize for “Most Outstanding Student” in the piano and chamber music departments. She has received master classes from Daniel Barenboim, Menahem Pressler, Ferenc Rados, Elisso Virsaladze, Aldo Ciccolini and Boris Berman, among others.

Booklet für The Butterfly Effect