Guillermo began his cello studies at the age of three with teacher Arantza López, following the Suzuki method. He continued his education with María de Macedo and Miguel Jiménez, until he entered the Conservatorio Superior de Música de Aragón, where he studied for his Bachelor of Music degree, specializing in the cello, under the tuition of Angel Luis Quintana, Maite García and David Apellániz. He also attended advanced musical courses with Jaap ter Linden, Anner Bylsma and Pieter Wispelwey.
After his bachelor studies, he studied a Master of Music Degree in Orchestal Performance, in the Barenboim-Said Foundation in Sevilla, as well as the diploma of the Formation Supérieure au métier de l’orchestre classique et romantique in Saintes, under the tuition of Hillary Metzger and Christophe Coin. He broadened his studies in the Escola Superior de Música de Catalunya, specializing in the Baroque cello, with Bruno Cocset, Emmanuel Balsa, Andrew Ackerman and Emilio Moreno, with the highest possible grades. He also studied the Master of Music Degree in Musicology in the Universidad Autónoma de Barcelona.
During his career he has played as principal cello in orchestras such as the Joven Orquesta Nacional de España, the Jeune Orchestre Atlantique, the Nederlandse Orkest Ensemble Academie and the European Union Baroque Orchestra, where he has worked with masters such as Philippe Herreweghe, Mark Minkowski, Jordi Savall, Rachel Podger and Lars Ulrik Mortensen. He collaborates regularly with national and international ensembles such as Sphera Antiqva, Regina Ibérica, Ensemble Nereydas, Temperamento, Ímpetus, Os Músicos do Tejo and Vespres d’Arnadí. His activity as a soloist has taken him to play both solo recitals and orchestra concerts in various concert halls throughout Spain, France, Belgium, Luxembourg and Germany. He is a founding member of the ensemble Academia de las Luces and member of ATRIUM ensemble, La Tempestad and Paperkite.
On the other hand, his work as a musicologist has resulted in a recent publication: the critical editions and study of the cello methods written in Spain at the end of the 18th century, by SEPTENARY editions.
Guillermo Turina plays a violoncello Marchal à Paris, from late 18th century.
photo: from artist’s website
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