Innés garnered First Prize in the XII edition of the Chamber Music Competition of L’Alcora, Castellón with the Trio Euterpe; she is a three-time winner of the City of Llanes (Asturias) Chamber Music Competition with the string quartet Día Armónico; and a winner of the Chamber Music Competition Jesús del Monasterio in Madrid with the Bran Quartet. She received the Prize for Extraordinary Studies from the Royal Conservatory of Music of Madrid, where she studied with Joaquín Torre.
Innes furthered her studies at the Hochschule für Musik Akademie in Basel, Switzerland and obtained a master’s degree in violin with Rainer Schmidt. She also holds a master’s in performance and musical research from the International University of Valencia where she studied under Fabio Biondi.
Innés made her soloist debut with W. A. Mozart’s Violin Concerto No. 4 in D Major at the Palau de la Música in Valencia.
She has been a member and collaborator with numerous orchestras: the Spanish National Youth Orchestra, the Gustav Mahler Jugendorchester, the Schleswig Holstein Musik Festival, the European Union Youth Orchestra, the Orchestra of the ZHdK Conservatory in Zürich and the Gstaad Menuhin Festival (Switzerland). She has played under the baton of Juanjo Mena, George Pehlivanian, Christian Zacharias, José Ramón Encinar, Andrés Salado, Jordi Francés, Lorenzo Viotti, Lutz Köhler, Vasily Petrenko, Ivor Bolton, Marek Janowski, Heinz Holliger and Marc Albrecht.
Innés currently plays with Europa Galante, under Fabio Biondi and with the Basel Sinfonieorchester in Switzerland. She is a member of the Orchestra of the Palau de Les Arts in Valencia.
Close-Up:
- Like many other people, I’ve gone through different phases on my road to becoming a professional musician. At first, you like an instrument, and you realize you can get sounds out of it. This is something new and unknown and you’re excited. After that, your teachers ask more and more of you, and that’s when you realize that this is not just any old “hobby”, and that you have to combine it with taking your secondary school exams, musical contests, auditions, etc. At that point, you may feel like giving it up since it is so demanding and you need to be highly motivated to keep going. You also become aware of how hard the profession is, and that doesn’t help you at all. In my case, after I’d gone through all of these phases and I began to just concentrate on the violin, I was glad that I had kept with it.
- The place that has most marked me as a music student has to be Madrid. Going there didn’t just involve moving to the city, but was a life-changing experience as well, full of all of the people I met there. It was scary at first. On the other hand, Madrid is such a lively place, you never feel alone. My move there coincided with the point when I decided to devote all my time to the violin and focus on how I wanted my musical career to evolve. It was a time of personal growth.
- I love to spend time with my family, my partner and my friends, on a terrace, chatting and laughing over a snack or a drink. I feel that the further I get from that “on-going search for creativity” so typical of our profession, and when I am simply relaxed and happy, listening to others tell their stories, and giving and receiving love, that is when suddenly all flows easily and I can take up my instrument in a different way and connect with the artistic component of my profession. I play from a new perspective, less focused on the technical and academic aspects of my instrument. Another way I can stimulate my creativity is by drawing, something I love to do.
- One of my favorite books is Italo Calvino’s The Baron in the Trees. I read it straight from start to finish, with the feeling that it might have been me who had gone up to live in the trees, so much did I identify with the protagonist: someone who was free, independently of whether his feet were on the ground or he was skipping in the treetops.
- I remember that when I started to play with Nostrum Mare Camerata, it felt like a real family, as though all of the members, rather than friends and acquaintances, were all siblings. I was surprised to see how everyone was really striving to give their best, without showing off in the least, but with great respect towards the music and their colleagues, drawing in everyone who was playing on that stage. This is one of Nostrum Mare Camerata’s traits, and we need to make sure we keep it.