SCHERZO: MADRID / COMA 23: la multivariedad del violín
por Tomás Marco
18 de noviembre 2023, Madrid

Con la interpretación de Tres imágenes para Tristán, Graciela Jiménez (1965) introdujo elementos que ponen de manifiesto las innovaciones lingüísticas presentes en el violín, que transitan desde la expresión fundamentada en el empleo del arco hasta llegar a nubes etéreas de armónicos. La expresión y el timbre adquieren mayor relevancia que las estructuras, dando como resultado una forma rapsódica que destaca por su encanto.

Leer reseña

El compositor habla
Entrevista: «La interdisciplinariedad me permite crear una forma de belleza que comunica de forma excepcional» Graciela Jiménez.
por Ruth Prieto
10 de octubre de 2022, Madrid

El próximo domingo a las 12,30 horas en los Teatros del Canal, la compositora Graciela Jiménez estrena la version completa semiescenificada de su obra «Homenaje a Alejandra Pizarnik». Hemos hablado con ella y esto es lo que nos ha contado.

Leer entrevista

Ritmo.es
Crítica – No puedo hablar con mi voz
por Juan Mata
14 de junio de 2022, Granada

Mientras asisto a la representación de Alejandra (2013), una ópera de cámara para mezzosoprano, actriz, piano y bailarina, compuesta por la compositora y pianista Graciela Jiménez, me vienen a la memoria unas palabras de la poeta Marina Tsvietáieva, quien en su libro El poeta y el tiempo afirmaba que «todo el arte no es más que la potencialidad de una respuesta».

Ver crítica completa

RT
Entrevista a Graciela Jiménez
por Pablo Quiroga
15 de noviembre 2019
Graciela Jiménez: “La música pop y el reguetón están bien ocupando el lugar que ocupan”

Ver entrevista

Revista Música Clásica 3.0
Reseña del disco
Graciela Jiménez: de Humahuaca al Mediterráneo
por Iván Gordín

Entrevista a Graciela Jiménez
por Gabriela Levite
Junio, 2019

Ver reseña y entrevista

Clásica Cordoba
Poesía y paisaje en la música de Graciela Jiménez
5 de junio, 2019

Ver entrevista

Fanfare Magazine
Interview with Composer Graciela Jiménez

por Ruth Prieto
Mayo 2019

Ver entrevista

Fanfare Magazine
por Ruth Prieto
Mayo 2019

Crítica disco

FANFARE
Reseña sobre el Álbum
JIMÉNEZ, G.: Piano Solo Works / Cello and Piano Works
por Robert Schulslaper
Mayo 2019
Cellist Matías Villafañe, who ably partners Marinis in the Lorca adaptations, is strikingly effective in “Despertar,” the first of four vignettes inspired by Antonio Arabesco’s photographic exhibition Mediterráneo. It’s a cleverly constructed cello solo—the set also includes a piece for solo piano—in which Jiménez juxtaposes statements in the richly sonorous lower reaches of the cello with answers from the upper register. It’s as if the cello is engaged in a conversation with itself, a deeply felt interior dialogue to which an ascending pizzicato passage adds textural variety. I wouldn’t want to end this overview without mentioning Ecos, the disc’s last track: Not at all melancholy but rather sweet, with its gently lapping “vamp” that recalls Ravel’s Une barque sur l’ocean floating beneath the mellifluous cello. © 2019 Fanfare

Ver reseña completa

AMERICAN RECORD GUIDE
por David W Moore
Marzo 2019

In the Llamas’ Eyes, a scary description of a valley in the mountains of northwestern Argentina, blends violence with jazz and more. We go back to simplicity in the cello transcriptions, mostly written as sung, it would seem. The shorter Mediterraneo suite is occasionally livelier but just as thoughtful.

Her [Marinis] handling of her instrument is well suited to Jimenez’s style. © 2019 American Record Guide

Ver reseña completa

JEROBEAR
Reseña sobre el Álbum
JIMÉNEZ, G.: Piano Solo Works / Cello and Piano Works
Review Corner
Febrero, 2019

As well as the more lively moments, we also like the mournful sections of La Luz de Enero, inspired by the poetry of Lorca and with sensitive cello from Matías Villafañe. Dora de Marinis is on the piano; her playing is excellent. © 2019 Review Corner
Leer reseña completa

THE CONGLETON CHRONICLE
Reseña sobre el Álbum
JIMÉNEZ, G.: Piano Solo Works / Cello and Piano Works
Enero 2019

La Luz de Enero, inspired by the poetry of Lorca and with sensitive cello from Matías Villafañe. Dora de Marinis is on the piano; her playing is excellent. © 2019 The Congleton Chronicle

elcompositorhabla.com
Entrevista con Graciela Jiménez
por Ruth Prieto
Enero 2019

Ver entrevista

Revista Ritmo
Inicio de una amistad con corcheas
por Arnoldo Liberman
Diciembre 2018

Crítica disco

RECORDS INTERNATIONAL
Reseña sobre el Álbum
JIMÉNEZ, G.: Piano Solo Works / Cello and Piano Works
December 2018

The landscape and folk melodies of her native Argentina infuse Jiménez’ piano music with evocative imagery whether in the colorful fantasia of En los ojos de las llamas, the aphoristic, dreamlike Piezas or in the virtuosic dance rhythms of En la Quebrada de Humahuaca which evoke the music of her great predecessor, Alberto Ginastera. The biggest work is La luz de enero, an adaptation for cello and piano of a song cycle which is poetic, impressionist and jazz-inflected. © 2018 Records International

DAVID DENTON
Reseña sobre el Álbum
JIMÉNEZ, G.: Piano Solo Works / Cello and Piano Works
David’s Review Corner. November 2018

Graciela Jimenez was born in Argentina in 1965, and it was there that she began her piano and composition studies, moving to Spain in 1986, where she now lives. Working extensively in the field of education, she combines an academic career with that of a composer and concert pianist. Most of the release comes from the present century, the disc almost equally divided between her works for solo piano and that for cello and piano. Stylistically her writing for the solo piano belongs to the first half of the Twentieth century and uses tonality in a melodic construction with hints of having been derived from improvisation, and not far removed from modern experimental jazz. It falls very appealingly on the ear, and if it does not always offer music to last in the memory, the highly energised En la Quebrada de Humahuaca has a degree of virtuosity to engage our attention. It is the duo for cello and piano, La luz de enero, that her structure become more formalised, and at the same time more rhapsodic in nature. The disc ends with the 2014 Mediterraneo, a degree of French influence coming in the sultry heat of the second of the four movements, and is far from being ‘austere’ as the programme note describes it. I find it a most beautiful and warm score, and commend you to start here to enter Jimenez’s musical world. It appears to have been recorded in a small studio with the closely miked cello from the highly experienced Argentinian cellist, Matias Villafane, excellently partnered by the much travelled pianist, Dora De Marinis. © 2018 David’s Review Corner

clasicacordoba.com
Más aca, la poesía y la música
Agosto 2018

Ver entrevista

clasicacordoba.com
Los mundos paralelos de Graciela Jimenez
Diciembre 2017

Ver entrevista