Welcome to our online ticketing system.
Here, you can get your tickets in a simple way.
Here, you can get your tickets in a simple way.
14
Sep
QUATUOR ÉBÈNE I QUARTET CASALS
SALA 2 - ORIOL MARTORELL
Wednesday, 14/09/2022 19:00
Wednesday, 14/09/2022 19:00
QUATUOR ÉBÈNE I QUARTET CASALS
BRAHMS 3
SALA 2 - ORIOL MARTORELL
Wednesday, 14/09/2022 19:00
A programme of musical crossovers with the Ébène and Casals quartets.
The Barcelona Quartet Biennale begins with a programme full of musical crossovers. In Reflections on the theme B-A-C-H, Sofia Gubaidulina extracts a theme from The Art of Fugue by J. S. Bach, which will play a central role in this year's Biennale. Variations are explored in a short work, with a certain spectral air, which is, above all, a great homage to the late Baroque master. W.A. Mozart’s String Quartet in G major, K. 387, known as "Spring," is part of a series of six quartets that Mozart dedicated to the father of string quartets, Joseph Haydn, who was a friend of his. Mozart composed his “Spring” quartets in 1782, a year after the premiere of Haydn’s String Quartets Op. 33, which had greatly impressed Mozart. The “Spring" quartet, written towards the end of the composer's life, is a work of great exhibition clarity. Brahms String Quartet No. 3 in B-flat major, Op. 67 is a rather lively and jovial composition, which Brahms created with the intention of moving away from the seriousness of his First Symphony, which premiered just one week after the quartet.
The Barcelona Quartet Biennale begins with a programme full of musical crossovers. In Reflections on the theme B-A-C-H, Sofia Gubaidulina extracts a theme from The Art of Fugue by J. S. Bach, which will play a central role in this year's Biennale. Variations are explored in a short work, with a certain spectral air, which is, above all, a great homage to the late Baroque master. W.A. Mozart’s String Quartet in G major, K. 387, known as "Spring," is part of a series of six quartets that Mozart dedicated to the father of string quartets, Joseph Haydn, who was a friend of his. Mozart composed his “Spring” quartets in 1782, a year after the premiere of Haydn’s String Quartets Op. 33, which had greatly impressed Mozart. The “Spring" quartet, written towards the end of the composer's life, is a work of great exhibition clarity. Brahms String Quartet No. 3 in B-flat major, Op. 67 is a rather lively and jovial composition, which Brahms created with the intention of moving away from the seriousness of his First Symphony, which premiered just one week after the quartet.
15
Sep
COSMOS QUARTET
SALA 4 - ALICIA DE LARROCHA
Thursday, 15/09/2022 12:00
Thursday, 15/09/2022 12:00
COSMOS QUARTET
PAPA HAYDN
SALA 4 - ALICIA DE LARROCHA
Thursday, 15/09/2022 12:00
Two works by the father of the quartet created almost twenty years apart.
Joseph Haydn composed about seventy string quartets throughout his career and was highly influential in consolidating this instrumental formation as a musical genre in its own right. On this occasion, the Cosmos Quartet will perform the String Quartet No. 1, Op. 33 (1781) and the String Quartet No. 1, Op. 76 (1797), composed almost twenty years apart.
Haydn’s String Quartets, Op. 33, are known as the "Russian Quartets" because they were dedicated to the Grand Duke of Russia, future Tsar Paul I. The quartets are full of irony and wit. At the beginning of the first quartet, Haydn plays with ambiguity, letting the audience guess if it is written in D major or in B minor.
The String Quartets, Op. 76 are one of the last works that Haydn composed, when he was already extremely old. Dedicated to Count Erdődy, the first quartet of this series, written in G major, begins with three chords in tutti that are especially well-known and is structured in four movements, three of which are in sonata form. Again, Haydn oscillates between major and minor tones and, in fact, begins the last movement in G minor.
Joseph Haydn composed about seventy string quartets throughout his career and was highly influential in consolidating this instrumental formation as a musical genre in its own right. On this occasion, the Cosmos Quartet will perform the String Quartet No. 1, Op. 33 (1781) and the String Quartet No. 1, Op. 76 (1797), composed almost twenty years apart.
Haydn’s String Quartets, Op. 33, are known as the "Russian Quartets" because they were dedicated to the Grand Duke of Russia, future Tsar Paul I. The quartets are full of irony and wit. At the beginning of the first quartet, Haydn plays with ambiguity, letting the audience guess if it is written in D major or in B minor.
The String Quartets, Op. 76 are one of the last works that Haydn composed, when he was already extremely old. Dedicated to Count Erdődy, the first quartet of this series, written in G major, begins with three chords in tutti that are especially well-known and is structured in four movements, three of which are in sonata form. Again, Haydn oscillates between major and minor tones and, in fact, begins the last movement in G minor.
15
Sep
JERUSALEM QUARTET I QUARTET ATENEA
SALA 2 - ORIOL MARTORELL
Thursday, 15/09/2022 19:00
Thursday, 15/09/2022 19:00
JERUSALEM QUARTET I QUARTET ATENEA
DVORÁK: AMERICAN QUARTET
SALA 2 - ORIOL MARTORELL
Thursday, 15/09/2022 19:00
Dvořák, Korngold and Mozart in the hands of the acclaimed Jerusalem Quartet.
Antonín Dvořák composed the String Quartet No. 12, Op. 96 during a summer stay in Iowa, USA, shortly after composing the New World Symphony. The influence of American music is present in the work through various elements, such as the use of the pentatonic scale and the syncopated rhythms. In this quartet, Dvořák manages to balance melodic creativity and structural clarity.
Erich W. Korngold’s String Quartet No. 2, Op. 26 was composed shortly before Korngold’s triumph in Hollywood. It has some features of the Viennese tradition, such as luminosity and the use of waltz form. However, there are also some hints at certain melodic and harmonic elements that later find their way into his film scores.
W. A. Mozart’s String Quartet No. 21, K. 575, dedicated to King Frederick William II of Prussia, is a relaxed work that Mozart composed at full maturity and contains outstanding virtuosic cello passages.
Benet Casablancas String Quartet No. 3, explores darkness and night, as he does in works such as Darkness Visible and Shade and Darkness. Based on verses by W. B. Yeats, Casablancas creates a single movement with three clearly differentiated parts. The first and final sections, which evoke night storms, are of great emotional and rhythmic intensity, while the central part is delicate and suggests an atmosphere of calm and rest.
Antonín Dvořák composed the String Quartet No. 12, Op. 96 during a summer stay in Iowa, USA, shortly after composing the New World Symphony. The influence of American music is present in the work through various elements, such as the use of the pentatonic scale and the syncopated rhythms. In this quartet, Dvořák manages to balance melodic creativity and structural clarity.
Erich W. Korngold’s String Quartet No. 2, Op. 26 was composed shortly before Korngold’s triumph in Hollywood. It has some features of the Viennese tradition, such as luminosity and the use of waltz form. However, there are also some hints at certain melodic and harmonic elements that later find their way into his film scores.
W. A. Mozart’s String Quartet No. 21, K. 575, dedicated to King Frederick William II of Prussia, is a relaxed work that Mozart composed at full maturity and contains outstanding virtuosic cello passages.
Benet Casablancas String Quartet No. 3, explores darkness and night, as he does in works such as Darkness Visible and Shade and Darkness. Based on verses by W. B. Yeats, Casablancas creates a single movement with three clearly differentiated parts. The first and final sections, which evoke night storms, are of great emotional and rhythmic intensity, while the central part is delicate and suggests an atmosphere of calm and rest.
16
Sep
ARIS QUARTETT
SALA 4 - ALICIA DE LARROCHA
Friday, 16/09/2022 12:00
Friday, 16/09/2022 12:00
ARIS QUARTETT
PAPA HAYDN
SALA 4 - ALICIA DE LARROCHA
Friday, 16/09/2022 12:00
Aris Quartett performs two quartets from Haydn’s late years.
In the late 18th century, Joseph Haydn was nicknamed "Papa Haydn”. The musicians who worked for him gave him the nickname, probably to highlight the wisdom and benevolence that he was known for. However, this expression is also often used to introduce the composer as the father of the symphony and also of the string quartet. On this occasion, Aris Quartett will perform the second and fourth quartets of the Op series. 76, which is one of the last that Haydn composed, when he was already in his last years. It was dedicated to Count Erdödy. The second quartet is called the "Quinten" in reference to the falling perfect fifths that open the first movement and dominate the whole work. The fourth quartet, on the other hand, begins with a rising theme from sustained chords that open the work. This rising theme gives the piece its nickname: "Sunrise".
In the late 18th century, Joseph Haydn was nicknamed "Papa Haydn”. The musicians who worked for him gave him the nickname, probably to highlight the wisdom and benevolence that he was known for. However, this expression is also often used to introduce the composer as the father of the symphony and also of the string quartet. On this occasion, Aris Quartett will perform the second and fourth quartets of the Op series. 76, which is one of the last that Haydn composed, when he was already in his last years. It was dedicated to Count Erdödy. The second quartet is called the "Quinten" in reference to the falling perfect fifths that open the first movement and dominate the whole work. The fourth quartet, on the other hand, begins with a rising theme from sustained chords that open the work. This rising theme gives the piece its nickname: "Sunrise".
16
Sep
BELCEA QUARTET I ARIS QUARTETT
SALA 2 - ORIOL MARTORELL
Friday, 16/09/2022 19:00
Friday, 16/09/2022 19:00
BELCEA QUARTET I ARIS QUARTETT
BEETHOVEN: RAZUMOVSKY 1
SALA 2 - ORIOL MARTORELL
Friday, 16/09/2022 19:00
The Quartets Op. 59 surpass classical conventions and mark a turning point for Beethoven.
The Three String Quartets, Op. 59 – named after the Count, to whom they are dedicated, Razumovsky - marked a turning point in the compositional career of L. van Beethoven, who finally dared to move away from classical conventions. They are technically difficult works, with contrasts of dynamics and an almost symphonic magnitude of sound. At Razumovsky's request, the first Quartet includes a popular Russian theme that characterises the last movement.
The "Quartettsatz", which is the first movement of a string quartet that Franz Schubert never finished, has a certain tragic air. It is one of the composer’s last works.
The String Quartet No. 14, Op. 142 is the penultimate quartet that Dmitri Shostakovich composed, when he was already seriously ill. The cello plays a predominant role.
In Officium breve in memoriam Andreae Szervánszky Op. 28, György Kurtág pays a posthumous tribute to Szervánszky and Anton Webern, two of his great musical influences.
In-side, the fourth piece from the Brains cycle will also be performed. Misato Mochizuki composed the pieces which are based on research into brain function.
The Three String Quartets, Op. 59 – named after the Count, to whom they are dedicated, Razumovsky - marked a turning point in the compositional career of L. van Beethoven, who finally dared to move away from classical conventions. They are technically difficult works, with contrasts of dynamics and an almost symphonic magnitude of sound. At Razumovsky's request, the first Quartet includes a popular Russian theme that characterises the last movement.
The "Quartettsatz", which is the first movement of a string quartet that Franz Schubert never finished, has a certain tragic air. It is one of the composer’s last works.
The String Quartet No. 14, Op. 142 is the penultimate quartet that Dmitri Shostakovich composed, when he was already seriously ill. The cello plays a predominant role.
In Officium breve in memoriam Andreae Szervánszky Op. 28, György Kurtág pays a posthumous tribute to Szervánszky and Anton Webern, two of his great musical influences.
In-side, the fourth piece from the Brains cycle will also be performed. Misato Mochizuki composed the pieces which are based on research into brain function.
17
Sep
JACK QUARTET I QUARTETTO MAURICE
SALA 2 - ORIOL MARTORELL
Saturday, 17/09/2022 17:00
Saturday, 17/09/2022 17:00
JACK QUARTET I QUARTETTO MAURICE
LOOKING FORWARD
SALA 2 - ORIOL MARTORELL
Saturday, 17/09/2022 17:00
A day dedicated to new music for string quartet.
This double concert offers a broad overview of contemporary compositions for quartet, perhaps the most complex type of ensemble and one which testifies, even today, to a composer’s skills. The concert’s four premieres will bring the audience into contact with ‘new names’ in contemporary composition (given that the term ‘young’ has become increasingly difficult to define), with Álava-born composer Daniel Apodaka (whose influences go beyond music, since a large part of his work also strives to unite poetry, prose, painting and sound); Joan Arnau Pàmies (whose work is strongly influenced by electronic music and the trend toward new complexities); Erin Gee (who combines her work as a composer and vocalist, with the voice playing a key role in her conception of sound, from phonetic to semantic aspects); and Eric Wubbels (whose main focuses of interest are contrasted ideas and the passage of time). In addition to these composers, we will also hear Núria Giménez-Comas’ tribute to Bach, since her composition revolves around one of his fugues from The Art of Fugue, exploring its resonances. This is also something that is closely pursued by Luther Adams, who works solely with open strings and natural harmonics, with a resulting hypnotic sound that shies away from displays of virtuosity. One of the main of protagonists of this kind of work is Giacinto Scelsi, a musician who works on each string of each instrument in a detailed, individual way. Fausto Romitelli, also bases his work on sound, albeit moving from technology to instrumental sound. Romitelli’s Natura morta con fiamme is the outcome of research by the composer from 1990 to 1991 at the French Institute de Recherche et Coordination Acoustique/Musique (IRCAM), with the construction of a composition in the form of modules, made up of different sound objects, allowing for its formal organisation in blocks.
This double concert offers a broad overview of contemporary compositions for quartet, perhaps the most complex type of ensemble and one which testifies, even today, to a composer’s skills. The concert’s four premieres will bring the audience into contact with ‘new names’ in contemporary composition (given that the term ‘young’ has become increasingly difficult to define), with Álava-born composer Daniel Apodaka (whose influences go beyond music, since a large part of his work also strives to unite poetry, prose, painting and sound); Joan Arnau Pàmies (whose work is strongly influenced by electronic music and the trend toward new complexities); Erin Gee (who combines her work as a composer and vocalist, with the voice playing a key role in her conception of sound, from phonetic to semantic aspects); and Eric Wubbels (whose main focuses of interest are contrasted ideas and the passage of time). In addition to these composers, we will also hear Núria Giménez-Comas’ tribute to Bach, since her composition revolves around one of his fugues from The Art of Fugue, exploring its resonances. This is also something that is closely pursued by Luther Adams, who works solely with open strings and natural harmonics, with a resulting hypnotic sound that shies away from displays of virtuosity. One of the main of protagonists of this kind of work is Giacinto Scelsi, a musician who works on each string of each instrument in a detailed, individual way. Fausto Romitelli, also bases his work on sound, albeit moving from technology to instrumental sound. Romitelli’s Natura morta con fiamme is the outcome of research by the composer from 1990 to 1991 at the French Institute de Recherche et Coordination Acoustique/Musique (IRCAM), with the construction of a composition in the form of modules, made up of different sound objects, allowing for its formal organisation in blocks.
17
Sep
CUARTETO QUIROGA I VERONIKA HAGEN
SALA 2 - ORIOL MARTORELL
Saturday, 17/09/2022 19:30
Saturday, 17/09/2022 19:30
CUARTETO QUIROGA I VERONIKA HAGEN
QUINTETS DE MOZART
SALA 2 - ORIOL MARTORELL
Saturday, 17/09/2022 19:30
Two key Mozart quintets, composed alongside each other, but quite opposite works.
W. A. Mozart expanded the possibilities of chamber music through six quintets, which included two violas. The String Quintet in C major, K 515 and the String Quintet in G minor, K 516 are two sides of the same coin: Mozart composed them both during the spring of 1787, shortly after learning that his father was seriously ill. However, the contrast between the tones makes them two almost opposite works. Even though the final allegro is quite cheerful, the Quintet in C major has a predominantly tragic and obscure air. The Quintet in G minor, on the other hand, has a more vital and majestic character. The following year, Mozart repeated this set of tones in the Symphony in G minor, K 550, and in the Symphony in C major, K 551.
Five years earlier, Mozart had transcribed for string quartet, five fugues from J. S. Bach's The Well-Tempered Clavier in order to learn the Baroque master's technique. From that point on, many of Mozart's works included more sophisticated counterpoint elements.
W. A. Mozart expanded the possibilities of chamber music through six quintets, which included two violas. The String Quintet in C major, K 515 and the String Quintet in G minor, K 516 are two sides of the same coin: Mozart composed them both during the spring of 1787, shortly after learning that his father was seriously ill. However, the contrast between the tones makes them two almost opposite works. Even though the final allegro is quite cheerful, the Quintet in C major has a predominantly tragic and obscure air. The Quintet in G minor, on the other hand, has a more vital and majestic character. The following year, Mozart repeated this set of tones in the Symphony in G minor, K 550, and in the Symphony in C major, K 551.
Five years earlier, Mozart had transcribed for string quartet, five fugues from J. S. Bach's The Well-Tempered Clavier in order to learn the Baroque master's technique. From that point on, many of Mozart's works included more sophisticated counterpoint elements.
18
Sep
QUARTET CASALS, BENJAMIN ALARD I COSMOS QUARTET
SALA 2 - ORIOL MARTORELL
Sunday, 18/09/2022 19:00
Sunday, 18/09/2022 19:00
QUARTET CASALS, BENJAMIN ALARD I COSMOS QUARTET
L'ART DE LA FUGA
SALA 2 - ORIOL MARTORELL
Sunday, 18/09/2022 19:00
The imposing art of Bach's fugue played with the historical bows of the Cuarteto Casals and the harpsichord of Benjamin Alard.
The last concert in the Barcelona Quartet Biennale is dedicated to the greatest work in counterpoint, The Art of Fugue by J. S. Bach was published in 1751, a year after the composer's death. Throughout fourteen fugues - the last one unfinished - and four canons, Bach rigorously deploys a wide variety of counterpoint techniques. For this reason, it is thought that Bach created The Art of Fugue with a pedagogical forethought; that is, to condense and exemplify the theory of counterpoint that he had been developing in previous compositions. The main theme of the work is simple, both melodic and rhythmic, and Bach repeats and transforms it with astonishing skill.
Barcelona’s Octavi Rumbau finally premieres his first string quartet, which is commissioned by L’Auditori and the Barcelona Quartet Biennale.
The last concert in the Barcelona Quartet Biennale is dedicated to the greatest work in counterpoint, The Art of Fugue by J. S. Bach was published in 1751, a year after the composer's death. Throughout fourteen fugues - the last one unfinished - and four canons, Bach rigorously deploys a wide variety of counterpoint techniques. For this reason, it is thought that Bach created The Art of Fugue with a pedagogical forethought; that is, to condense and exemplify the theory of counterpoint that he had been developing in previous compositions. The main theme of the work is simple, both melodic and rhythmic, and Bach repeats and transforms it with astonishing skill.
Barcelona’s Octavi Rumbau finally premieres his first string quartet, which is commissioned by L’Auditori and the Barcelona Quartet Biennale.
24
Sep
JON HOPKINS (LIVE)
SALA 1 - PAU CASALS
Saturday, 24/09/2022 21:00
Saturday, 24/09/2022 21:00
JON HOPKINS (LIVE)
POLARITY TOUR 2022
SALA 1 - PAU CASALS
Saturday, 24/09/2022 21:00
MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 30/09/2022 19:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies. The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.
MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 1/10/2022 19:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies. The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.
MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 2/10/2022 11:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies. The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.
6
Oct
SCHUBERT 8 I 9
SALA 1 - PAU CASALS
Thursday, 6/10/2022 19:00
Thursday, 6/10/2022 19:00
SCHUBERT 8 I 9
EL SO ORIGINAL. JORDI SAVALL
SALA 1 - PAU CASALS
Thursday, 6/10/2022 19:00
Jordi Savall presents two challenging German symphonic works.
With his last two symphonies –including his “Unfinished” Symphony No. 8 in B minor, made up of two movements–, Franz Schubert abandoned classic symphonic styles, moving aesthetically closer to Beethoven with a clear romantic emphasis far removed from the Sturm und Drang movement. His 9th Symphony easily merits the name “Great”, given its magnitude and the complexity of a score whose four movements succinctly unite both present and future. It was posthumously premiered in 1839, conducted by Felix Mendelssohn eleven years after Schubert’s death.
Following his versions of Beethoven’s nine symphonies, Jordi Savall now takes on Schubert at the head of Le Concert des Nations, with two challenging German symphonic works. Under his baton and following his criteria in music philology, these well-known works will no doubt sound totally new to today’s audiences.
With his last two symphonies –including his “Unfinished” Symphony No. 8 in B minor, made up of two movements–, Franz Schubert abandoned classic symphonic styles, moving aesthetically closer to Beethoven with a clear romantic emphasis far removed from the Sturm und Drang movement. His 9th Symphony easily merits the name “Great”, given its magnitude and the complexity of a score whose four movements succinctly unite both present and future. It was posthumously premiered in 1839, conducted by Felix Mendelssohn eleven years after Schubert’s death.
Following his versions of Beethoven’s nine symphonies, Jordi Savall now takes on Schubert at the head of Le Concert des Nations, with two challenging German symphonic works. Under his baton and following his criteria in music philology, these well-known works will no doubt sound totally new to today’s audiences.
7
Oct
TXAIKOVSKI: PIANO CONCERTO
SALA 1 - PAU CASALS
Friday, 7/10/2022 19:00
Friday, 7/10/2022 19:00
TXAIKOVSKI: PIANO CONCERTO
Martín García García i Anja Bihlmaier
SALA 1 - PAU CASALS
Friday, 7/10/2022 19:00
Piano Concerto No. 1 by Pyotr Ilyich Tchaikovsky is a major work, impacting not only on the history of a genre but on all work for piano. In the dialogue between the soloist and the orchestra, the Russian composer demonstrates a masterly control over time, with a captivating use of melody. A concerto whose demanding technical skills intimidated Nikolai Rubinstein, it was dedicated to Hans von Bülow, who finally premiered it in Boston to great acclaim.With his Concerto for Orchestra, Béla Bartók devised a symphonic work in concertante style, with solo instruments that emerge from a stream of diverse sounds in a mosaic in which all the musicians naturally find their place. This exhilarating journey of discovery into Bartók’s popular roots, with the aid of the orchestra’s different instruments, was a commission by Serge Koussevitzsky, given to the composer at the end of his life during his unhappy exile in the United States.
With this work, written in the composer’s youth in memory of his maestro, Toru Takemitsu managed to create a simple requiem with a strong emotional intensity. The final outcome captivated Igor Stravinsky.
With this work, written in the composer’s youth in memory of his maestro, Toru Takemitsu managed to create a simple requiem with a strong emotional intensity. The final outcome captivated Igor Stravinsky.
8
Oct
TXAIKOVSKI: PIANO CONCERTO
SALA 1 - PAU CASALS
Saturday, 8/10/2022 19:00
Saturday, 8/10/2022 19:00
TXAIKOVSKI: PIANO CONCERTO
Martín García García i Anja Bihlmaier
SALA 1 - PAU CASALS
Saturday, 8/10/2022 19:00
Piano Concerto No. 1 by Pyotr Ilyich Tchaikovsky is a major work, impacting not only on the history of a genre but on all work for piano. In the dialogue between the soloist and the orchestra, the Russian composer demonstrates a masterly control over time, with a captivating use of melody. A concerto whose demanding technical skills intimidated Nikolai Rubinstein, it was dedicated to Hans von Bülow, who finally premiered it in Boston to great acclaim.With his Concerto for Orchestra, Béla Bartók devised a symphonic work in concertante style, with solo instruments that emerge from a stream of diverse sounds in a mosaic in which all the musicians naturally find their place. This exhilarating journey of discovery into Bartók’s popular roots, with the aid of the orchestra’s different instruments, was a commission by Serge Koussevitzsky, given to the composer at the end of his life during his unhappy exile in the United States.
With this work, written in the composer’s youth in memory of his maestro, Toru Takemitsu managed to create a simple requiem with a strong emotional intensity. The final outcome captivated Igor Stravinsky.
With this work, written in the composer’s youth in memory of his maestro, Toru Takemitsu managed to create a simple requiem with a strong emotional intensity. The final outcome captivated Igor Stravinsky.
15
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 10:30
Saturday, 15/10/2022 10:30
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 10:30
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
15
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 11:45
Saturday, 15/10/2022 11:45
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 11:45
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
15
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 16:00
Saturday, 15/10/2022 16:00
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 16:00
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
15
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 17:15
Saturday, 15/10/2022 17:15
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Saturday, 15/10/2022 17:15
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
15
Oct
MAHLER: KINDERTOTENLIEDER
SALA 1 - PAU CASALS
Saturday, 15/10/2022 19:00
Saturday, 15/10/2022 19:00
MAHLER: KINDERTOTENLIEDER
Matthias Goerne i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 15/10/2022 19:00
Friedrich Rückert only managed to overcome the death of two of his children through an obsessive stream of poetry. Gustav Mahler channelled his dramatic skill into conveying the unbearable misery of a child’s death in Kindertotenlieder (Songs on the Death of Children), one of his most moving works and a key to understanding the composer’s way of thinking. Underlying the five songs’ formal simplicity are textures that enter into dialogue with the text. The contrasts between the major and minor modes modulate the emotional mood, with a glimpse of a sinister undercurrent below the beauty of childhood innocence. Los incensarios (The Censers) is a work commissioned by the Orquesta y Coro Nacionales de España. In it, Barcelona-born composer José Río-Pareja uses melodies from old saetas as a starting point to create, as he puts it, “a nocturnal journey in sound”.
Antonín Dvořák displays the full range of his orchestral colours in Polednice (The Noon Witch), a symphonic poem of superb descriptive power rooted in Slavic mythology that also describes the tragic death of a child.
Taking a painting by Arnold Böcklin as his source of inspiration, in Die Toteninsel (The Island of the Dead), the great Russian symphony composer Sergei Rachmaninoff creates a work of intense symbolic and narrative might, using a boat trip as an allegory for the journey to Hades.
Antonín Dvořák displays the full range of his orchestral colours in Polednice (The Noon Witch), a symphonic poem of superb descriptive power rooted in Slavic mythology that also describes the tragic death of a child.
Taking a painting by Arnold Böcklin as his source of inspiration, in Die Toteninsel (The Island of the Dead), the great Russian symphony composer Sergei Rachmaninoff creates a work of intense symbolic and narrative might, using a boat trip as an allegory for the journey to Hades.
15
Oct
RUNDFUNK
SALA 2 - ORIOL MARTORELL
Saturday, 15/10/2022 20:00
Saturday, 15/10/2022 20:00
RUNDFUNK
ENSEMBLE MOSAIK & ENNO POPPE
SALA 2 - ORIOL MARTORELL
Saturday, 15/10/2022 20:00
Fifty minutes of Poppe’s fascinating world of sound.
The starting point for this piece is the key role radio plays in the development of modern music, from experimental electronic music labs, in most cases attached to different radio stations and to radio-art. At the same time, radio and everything that it involves in terms of sound recording, editing and reproduction have undergone big changes, leading to the obsolescence of some pioneering works of electroacoustic music (now regarded as “classics”, even though they were written barely 60 years ago) and to the emergence of new styles and genres (think, for instance, of the possibilities that Auto-tune offers). In this piece, nine traditional synthesisers are used (a Hammond organ, Minimoog and Yamaha DX-7), recreated in the form of software and used by the instrumentalists through their computers and keyboards. With this setup, Enno Poppe seeks to achieve a certain strangeness in the sound, manifested, so to speak, in its falsity. As the composer acknowledges, the composition’s interest appeal is purely and simply sound, worked on in a way that denotes a certain post-modern fetishism, devoid of any nostalgia and taking full advantage of all the available media.
The starting point for this piece is the key role radio plays in the development of modern music, from experimental electronic music labs, in most cases attached to different radio stations and to radio-art. At the same time, radio and everything that it involves in terms of sound recording, editing and reproduction have undergone big changes, leading to the obsolescence of some pioneering works of electroacoustic music (now regarded as “classics”, even though they were written barely 60 years ago) and to the emergence of new styles and genres (think, for instance, of the possibilities that Auto-tune offers). In this piece, nine traditional synthesisers are used (a Hammond organ, Minimoog and Yamaha DX-7), recreated in the form of software and used by the instrumentalists through their computers and keyboards. With this setup, Enno Poppe seeks to achieve a certain strangeness in the sound, manifested, so to speak, in its falsity. As the composer acknowledges, the composition’s interest appeal is purely and simply sound, worked on in a way that denotes a certain post-modern fetishism, devoid of any nostalgia and taking full advantage of all the available media.
16
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 10:30
Sunday, 16/10/2022 10:30
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 10:30
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
16
Oct
MAHLER: KINDERTOTENLIEDER
SALA 1 - PAU CASALS
Sunday, 16/10/2022 11:00
Sunday, 16/10/2022 11:00
MAHLER: KINDERTOTENLIEDER
Matthias Goerne i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 16/10/2022 11:00
Friedrich Rückert only managed to overcome the death of two of his children through an obsessive stream of poetry. Gustav Mahler channelled his dramatic skill into conveying the unbearable misery of a child’s death in Kindertotenlieder (Songs on the Death of Children), one of his most moving works and a key to understanding the composer’s way of thinking. Underlying the five songs’ formal simplicity are textures that enter into dialogue with the text. The contrasts between the major and minor modes modulate the emotional mood, with a glimpse of a sinister undercurrent below the beauty of childhood innocence. Los incensarios (The Censers) is a work commissioned by the Orquesta y Coro Nacionales de España. In it, Barcelona-born composer José Río-Pareja uses melodies from old saetas as a starting point to create, as he puts it, “a nocturnal journey in sound”.
Antonín Dvořák displays the full range of his orchestral colours in Polednice (The Noon Witch), a symphonic poem of superb descriptive power rooted in Slavic mythology that also describes the tragic death of a child.
Taking a painting by Arnold Böcklin as his source of inspiration, in Die Toteninsel (The Island of the Dead), the great Russian symphony composer Sergei Rachmaninoff creates a work of intense symbolic and narrative might, using a boat trip as an allegory for the journey to Hades.
Antonín Dvořák displays the full range of his orchestral colours in Polednice (The Noon Witch), a symphonic poem of superb descriptive power rooted in Slavic mythology that also describes the tragic death of a child.
Taking a painting by Arnold Böcklin as his source of inspiration, in Die Toteninsel (The Island of the Dead), the great Russian symphony composer Sergei Rachmaninoff creates a work of intense symbolic and narrative might, using a boat trip as an allegory for the journey to Hades.
16
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 11:45
Sunday, 16/10/2022 11:45
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 11:45
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
16
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 16:00
Sunday, 16/10/2022 16:00
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 16:00
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
16
Oct
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 17:15
Sunday, 16/10/2022 17:15
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 16/10/2022 17:15
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
16
Oct
HOMENAJE A ZIMMER Y WILLIAMS
SALA 1 - PAU CASALS
Sunday, 16/10/2022 18:30
Sunday, 16/10/2022 18:30
HOMENAJE A ZIMMER Y WILLIAMS
ROYAL FILM CONCERT ORCHESTRA
SALA 1 - PAU CASALS
Sunday, 16/10/2022 18:30
21
Oct
XOSTAKÓVITX 15
SALA 1 - PAU CASALS
Friday, 21/10/2022 19:00
Friday, 21/10/2022 19:00
XOSTAKÓVITX 15
Vilde Frang i Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 21/10/2022 19:00
Like life itself, Dmitri Shostakovich’s symphonic legacies are filled with irony, nostalgia and enigmas in a seemingly senseless pastiche, with a mix of satyr and tragedy. The last symphony by the great Russian symphony composer is a retrospective, with a wealth of references and motifs. This large symphonic canvas, made of torn shreds of itself, offers an insight into the composer’s complex creative world. It was premiered in Moscow, conducted by his son Maxim.
Violin Concerto No. 2 by Béla Bartók clearly ranks high among 20th century violin concertos, with its links with classical traditions. It marks a turning point in his work, giving rise to a period of maturity and creative success in contrast with the backdrop of the day, marked by the rise of Nazism.
The Spanish premiere of f(x)=xsin^2x-1/x is an introduction to the work of a promising American composer. Its title is the mathematic function that describes its formal structure.
Violin Concerto No. 2 by Béla Bartók clearly ranks high among 20th century violin concertos, with its links with classical traditions. It marks a turning point in his work, giving rise to a period of maturity and creative success in contrast with the backdrop of the day, marked by the rise of Nazism.
The Spanish premiere of f(x)=xsin^2x-1/x is an introduction to the work of a promising American composer. Its title is the mathematic function that describes its formal structure.
21
Oct
SANDRA MONFORT
SALA 3 - TETE MONTOLIU
Friday, 21/10/2022 20:00
Friday, 21/10/2022 20:00
SANDRA MONFORT
NIÑO REPTIL ÁNGEL
SALA 3 - TETE MONTOLIU
Friday, 21/10/2022 20:00
22
Oct
XOSTAKÓVITX 15
SALA 1 - PAU CASALS
Saturday, 22/10/2022 19:00
Saturday, 22/10/2022 19:00
XOSTAKÓVITX 15
Vilde Frang i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 22/10/2022 19:00
Like life itself, Dmitri Shostakovich’s symphonic legacies are filled with irony, nostalgia and enigmas in a seemingly senseless pastiche, with a mix of satyr and tragedy. The last symphony by the great Russian symphony composer is a retrospective, with a wealth of references and motifs. This large symphonic canvas, made of torn shreds of itself, offers an insight into the composer’s complex creative world. It was premiered in Moscow, conducted by his son Maxim.
Violin Concerto No. 2 by Béla Bartók clearly ranks high among 20th century violin concertos, with its links with classical traditions. It marks a turning point in his work, giving rise to a period of maturity and creative success in contrast with the backdrop of the day, marked by the rise of Nazism.
The Spanish premiere of f(x)=xsin^2x-1/x is an introduction to the work of a promising American composer. Its title is the mathematic function that describes its formal structure.
Violin Concerto No. 2 by Béla Bartók clearly ranks high among 20th century violin concertos, with its links with classical traditions. It marks a turning point in his work, giving rise to a period of maturity and creative success in contrast with the backdrop of the day, marked by the rise of Nazism.
The Spanish premiere of f(x)=xsin^2x-1/x is an introduction to the work of a promising American composer. Its title is the mathematic function that describes its formal structure.
23
Oct
MORT I TRANSFIGURACIÓ
SALA 1 - PAU CASALS
Sunday, 23/10/2022 18:00
Sunday, 23/10/2022 18:00
MORT I TRANSFIGURACIÓ
Sofya Melikyan i Pascual-Vilaplana
SALA 1 - PAU CASALS
Sunday, 23/10/2022 18:00
The Romantics pursued the idea of transcendence as an aesthetic and philosophical goal. Richard Strauss’s symphonic poem Tod und Verklärung (Death and Transfiguration) is a paradigmatic example. Rather than following a literary programme laid down beforehand, the work focuses on the themes of artistic sublimation and eternity. The score portrays mundane events in sound, such as the uneven beating of the artist’s heart or the description in sound of the moment when his soul leaves his body, but the backdrop to the work is much more profound. In its final minutes, the composer endeavoured to convey an emotion that is difficult to put into words.
Noches en los jardines de España (Nights in the Gardens of Spain), by Manuel de Falla, was first performed in 1916, a work for piano and symphony orchestra. Originally it was conceived as a series of nocturnes for solo piano, dedicated to Ricard Viñes, the pianist from Lleida. It is one of the Andalusian composer’s most international works with features that have close links with the works of the French Debussy and Ravel.
Noches en los jardines de España (Nights in the Gardens of Spain), by Manuel de Falla, was first performed in 1916, a work for piano and symphony orchestra. Originally it was conceived as a series of nocturnes for solo piano, dedicated to Ricard Viñes, the pianist from Lleida. It is one of the Andalusian composer’s most international works with features that have close links with the works of the French Debussy and Ravel.
27
Oct
BARCELONA ART ORCHESTRA
SALA 2 - ORIOL MARTORELL
Thursday, 27/10/2022 20:00
Thursday, 27/10/2022 20:00
BARCELONA ART ORCHESTRA
MÚSICA LAIETANA
SALA 2 - ORIOL MARTORELL
Thursday, 27/10/2022 20:00
The music of the Barcelona movida reclaimed and (re)invented.
Nostalgia is not always the best approach to music, but a return to the past that it is blended with a renewed present is something we should embrace. This concert recalls two aspects of our past: the music that characterised the Barcelona scene as the Franco era drew to a close, and an ensemble that draws on the heritage of the much-missed Teatre Lliure Chamber Orchestra. With it in mind, the Barcelona Art Orchestra (BAO) takes its first steps in asserting the need for an open, flexible structure to offer, renew and invent different repertoires. Here they focus on “música laietana”, the sound of the Barcelona movida, which originated in the Sala Zeleste club. Some of those who created this music will be taking part, alongside the BAO, with special arrangements for the occasion. A reminder of the significance of that period and a reflection of the Orchestra’s (re)creative spirit.
Nostalgia is not always the best approach to music, but a return to the past that it is blended with a renewed present is something we should embrace. This concert recalls two aspects of our past: the music that characterised the Barcelona scene as the Franco era drew to a close, and an ensemble that draws on the heritage of the much-missed Teatre Lliure Chamber Orchestra. With it in mind, the Barcelona Art Orchestra (BAO) takes its first steps in asserting the need for an open, flexible structure to offer, renew and invent different repertoires. Here they focus on “música laietana”, the sound of the Barcelona movida, which originated in the Sala Zeleste club. Some of those who created this music will be taking part, alongside the BAO, with special arrangements for the occasion. A reminder of the significance of that period and a reflection of the Orchestra’s (re)creative spirit.
28
Oct
BEETHOVEN: PIANO CONCERTO
SALA 1 - PAU CASALS
Friday, 28/10/2022 19:00
Friday, 28/10/2022 19:00
BEETHOVEN: PIANO CONCERTO
ONE, S.Cho i D. Afkman
SALA 1 - PAU CASALS
Friday, 28/10/2022 19:00
Piano Concerto No. 3 by Ludwig van Beethoven opens one of those wounds in the history of musical genres that never closes, one that has a decisive impact on the future. The culmination of his early stage as a composer, it is a highly personal work, heralding the direction that his forthcoming work would take. It begins in ground-breaking, dynamic style, with high virtuoso skill, before giving way to a largo: an intimate passage of lyric beauty that contrasts with the final rondo. A work that was regarded as an extravagance by 1803 Vienna audiences, it offers the keys to understanding everything that would happen afterwards in music for piano and orchestra.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
29
Oct
BEETHOVEN: PIANO CONCERTO
SALA 1 - PAU CASALS
Saturday, 29/10/2022 19:00
Saturday, 29/10/2022 19:00
BEETHOVEN: PIANO CONCERTO
ONE, Seong-Jin Cho i David Afkham
SALA 1 - PAU CASALS
Saturday, 29/10/2022 19:00
Piano Concerto No. 3 by Ludwig van Beethoven opens one of those wounds in the history of musical genres that never closes, one that has a decisive impact on the future. The culmination of his early stage as a composer, it is a highly personal work, heralding the direction that his forthcoming work would take. It begins in ground-breaking, dynamic style, with high virtuoso skill, before giving way to a largo: an intimate passage of lyric beauty that contrasts with the final rondo. A work that was regarded as an extravagance by 1803 Vienna audiences, it offers the keys to understanding everything that would happen afterwards in music for piano and orchestra.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
30
Oct
BEETHOVEN: PIANO CONCERTO
SALA 1 - PAU CASALS
Sunday, 30/10/2022 11:00
Sunday, 30/10/2022 11:00
BEETHOVEN: PIANO CONCERTO
ONE, Seong-Jin Cho i David Afkham
SALA 1 - PAU CASALS
Sunday, 30/10/2022 11:00
Piano Concerto No. 3 by Ludwig van Beethoven opens one of those wounds in the history of musical genres that never closes, one that has a decisive impact on the future. The culmination of his early stage as a composer, it is a highly personal work, heralding the direction that his forthcoming work would take. It begins in ground-breaking, dynamic style, with high virtuoso skill, before giving way to a largo: an intimate passage of lyric beauty that contrasts with the final rondo. A work that was regarded as an extravagance by 1803 Vienna audiences, it offers the keys to understanding everything that would happen afterwards in music for piano and orchestra.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
Symphony No. 12 by Shostakovich is very much a programme symphony, closely linked to Symphony No. 11, and it bears a subtitle (“The Year 1917”) and a dedication (“In memory of Vladimir Lenin”) that leave no room for ambiguity. So strong is its narrative that it is almost a symphonic comment on the overthrow of the Russian monarchy, and through the resources deployed by the orchestra, specific scenes from the Russian Revolution are painted. With its literal musical quotes and allusions, it bears witness to the 20th century and to Soviet musical legacies.
HOMENATGES
Jordi Farran i Salvador Brotons
SALA 1 - PAU CASALS
Sunday, 30/10/2022 18:00
Joan Lamote de Grignon is a key figure in the history of Barcelona Symphonic Band. Under his leadership it honed its musical excellence and became one of Europe’s leading bands. On the 150th anniversary of his birth, the Band pays tribute to him as a composer with key works like the sardana La rosa del folló and his scherzo based on the popular Catalan song La filadora. His suite based on the opera Déjanire by Saint-Saëns also illustrates his skills as an orchestrator, transporting us to the world of sound he created.
2022 also marks the 100th anniversary of the birth of composer and teacher Manuel Oltra. Originally from Valencia, he lived and worked professionally in Barcelona. Although he is best known for his sardanes and choral pieces, this concert showcases some more substantial works, such as his Rhapsody for piano and wind instruments, and the symphonic poem L’alimara.
2022 also marks the 100th anniversary of the birth of composer and teacher Manuel Oltra. Originally from Valencia, he lived and worked professionally in Barcelona. Although he is best known for his sardanes and choral pieces, this concert showcases some more substantial works, such as his Rhapsody for piano and wind instruments, and the symphonic poem L’alimara.
LOW
SALA 1 - PAU CASALS
Thursday, 3/11/2022 21:00
4
Nov
XOSTAKÓVITX: CELLO CONCERTO
SALA 1 - PAU CASALS
Friday, 4/11/2022 19:00
Friday, 4/11/2022 19:00
XOSTAKÓVITX: CELLO CONCERTO
Narek Hakhnazaryan i Juanjo Mena
SALA 1 - PAU CASALS
Friday, 4/11/2022 19:00
All the ambiguity, drama and irony of Dmitri Shostakovich’s music is deployed in masterly fashion in his Cello Concerto No. 1. An emotionally charged work requiring a high degree of technical skill on the part of the soloist, it was written for Mstislav Rostropovich, who premiered it in Leningrad in 1959. The Russian composer used a small orchestra to create compelling interplay between the cello and the orchestra, where the horn particularly stands out.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
5
Nov
RECITAL DE PIANO INGRID CUSIDO
SALA 3 - TETE MONTOLIU
Saturday, 5/11/2022 18:30
Saturday, 5/11/2022 18:30
RECITAL DE PIANO INGRID CUSIDO
Obres de Beethoven,Ponce,Albéniz,Falla
SALA 3 - TETE MONTOLIU
Saturday, 5/11/2022 18:30
5
Nov
XOSTAKÓVITX: CELLO CONCERTO
SALA 1 - PAU CASALS
Saturday, 5/11/2022 19:00
Saturday, 5/11/2022 19:00
XOSTAKÓVITX: CELLO CONCERTO
Narek Hakhnazaryan i Juanjo Mena
SALA 1 - PAU CASALS
Saturday, 5/11/2022 19:00
All the ambiguity, drama and irony of Dmitri Shostakovich’s music is deployed in masterly fashion in his Cello Concerto No. 1. An emotionally charged work requiring a high degree of technical skill on the part of the soloist, it was written for Mstislav Rostropovich, who premiered it in Leningrad in 1959. The Russian composer used a small orchestra to create compelling interplay between the cello and the orchestra, where the horn particularly stands out.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
6
Nov
XOSTAKÓVITX: CELLO CONCERTO
SALA 1 - PAU CASALS
Sunday, 6/11/2022 11:00
Sunday, 6/11/2022 11:00
XOSTAKÓVITX: CELLO CONCERTO
Narek Hakhnazaryan i Juanjo Mena
SALA 1 - PAU CASALS
Sunday, 6/11/2022 11:00
All the ambiguity, drama and irony of Dmitri Shostakovich’s music is deployed in masterly fashion in his Cello Concerto No. 1. An emotionally charged work requiring a high degree of technical skill on the part of the soloist, it was written for Mstislav Rostropovich, who premiered it in Leningrad in 1959. The Russian composer used a small orchestra to create compelling interplay between the cello and the orchestra, where the horn particularly stands out.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
Alegrías is a symphonic suite based on themes from Flamenco, a ballet with which Robert Gerhard was commissioned by the Rambert Dance Company in 1941; a factor that would condition the composer’s work, calling for clichéd images of Spain that would be understood in London. Despite these limitations and the hardships of his exile, he created a brilliant, avant-garde symphonic pastiche. The eloquent, satirical musical quotes in the final jaleo–the Riego Anthem and Chopin’s Funeral March for the bull–give it a strong ironic, critical flavour.
Carl Nielsen embarked on a new creative stage with his Symphony No. 4, the most highly praised of his symphonies and a celebration of life, premiered halfway through the First World War.
6
Nov
WORKSHOP MA, ME, MI… MOZART!
ESPAI 5
Sunday, 6/11/2022 11:00
Sunday, 6/11/2022 11:00
WORKSHOP MA, ME, MI… MOZART!
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 6/11/2022 11:00
6
Nov
WORKSHOP MA, ME, MI… MOZART!
ESPAI 5
Sunday, 6/11/2022 12:15
Sunday, 6/11/2022 12:15
WORKSHOP MA, ME, MI… MOZART!
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 6/11/2022 12:15
6
Nov
Film Symphony Orchestra - KRYPTON
SALA 1 - PAU CASALS
Sunday, 6/11/2022 19:00
Sunday, 6/11/2022 19:00
Film Symphony Orchestra - KRYPTON
Héroes y superhéroes en concierto
SALA 1 - PAU CASALS
Sunday, 6/11/2022 19:00
10
Nov
T'HI AVENTURES?
SALA 2 - ORIOL MARTORELL
Thursday, 10/11/2022 11:30
Thursday, 10/11/2022 11:30
T'HI AVENTURES?
APROPA'T A LA BANDA
SALA 2 - ORIOL MARTORELL
Thursday, 10/11/2022 11:30
Get ready to travel with Symphonic Band and meet the most adventurous literary characters. With Phileas Fogg and his loyal valet, Jean Passepartout, from Around the World in Eighty Days by Jules Verne, we will discover exotic countries through the descriptive music of Otto M. Schwarz. Edvard Grieg’s famous incidental music written for the play Peer Gynt by Henrik Ibsen captures the wonderful image of daybreak in the Moroccan desert. Franco Cesarini’s authentic American rhythms evoke the escapades of Huckleberry Finn, Tom Sawyer’s inseparable friend, and Jim the slave, as they seek freedom floating down the winding Mississippi. And Mowgli and his friends bring us countless stories in music from The Jungle Book, as Walt Disney’s team brought them to the big screen. A special, exciting, unforgettable concert. Don’t miss it!
10
Nov
ARNAU OBIOLS
SALA 3 - TETE MONTOLIU
Thursday, 10/11/2022 20:00
Thursday, 10/11/2022 20:00
ARNAU OBIOLS
SALA 3 - TETE MONTOLIU
Thursday, 10/11/2022 20:00
A new way of singing the Pyrenees rooted in a dying tradition.
Arnau Obiols is convinced that the Pyrenees region and its musical traditions are at death’s door. He knows what he’s talking about. Perhaps, then, the only way to pay tribute to them, revive them or give them a new life in the twenty-first century is to live them, singing them as someone living in the mountains would sing them today. Everyday life is not what it was, and time does not pass at the same tempo as before. “There was more singing in everyday life”, Obiols explains. It was also “more collective”. As in the city, the sense of community has diminished. Given this individualism, Obiols, who is from La Seu d’Urgell, decided that his new project should speak of the mountains as a natural space and say less about their inhabitants. All he needs is his own voice, drums and a little electronic equipment. His music is rooted in what remains of a tradition, an intangible heritage that retains the flavour of a past that has (almost) been lost and whose present may be ephemeral.
Arnau Obiols is convinced that the Pyrenees region and its musical traditions are at death’s door. He knows what he’s talking about. Perhaps, then, the only way to pay tribute to them, revive them or give them a new life in the twenty-first century is to live them, singing them as someone living in the mountains would sing them today. Everyday life is not what it was, and time does not pass at the same tempo as before. “There was more singing in everyday life”, Obiols explains. It was also “more collective”. As in the city, the sense of community has diminished. Given this individualism, Obiols, who is from La Seu d’Urgell, decided that his new project should speak of the mountains as a natural space and say less about their inhabitants. All he needs is his own voice, drums and a little electronic equipment. His music is rooted in what remains of a tradition, an intangible heritage that retains the flavour of a past that has (almost) been lost and whose present may be ephemeral.
SCHUMANN 3
Sara Ferrández i Cristian Macelaru
SALA 1 - PAU CASALS
Friday, 11/11/2022 19:00
In Robert Schumann’s Symphony No. 3, associations were soon made with the agreeable nature of Rhineland and its inhabitants, washed by the waters of the Rhine: a river “born free” in the words of Hölderlin. An extroverted piece, with popular roots and an innovative narrative structure in five movements, it managed to capture moments of joy in a life dominated by depression. Its premiere, conducted by Schumann himself, was a triumphant success, with a fourth movement (“Feierlich”) considered to be one of the most inspired examples of his symphonic work.
Rhapsody-Concerto for Viola and Orchestra is a work by a composer more closely rooted in the traditions of Czech music, alongside figures such as Dvořák and Janáček, than mid 20th century avant-gardism. A composer with a distinctive personality, in this work from his late period, Bohuslav Martinů envelops the viola in calm, lyrical sounds. This is one of the most famous viola concertos by one of the Czech composers with the greatest talent and personality of the time.
Rhapsody-Concerto for Viola and Orchestra is a work by a composer more closely rooted in the traditions of Czech music, alongside figures such as Dvořák and Janáček, than mid 20th century avant-gardism. A composer with a distinctive personality, in this work from his late period, Bohuslav Martinů envelops the viola in calm, lyrical sounds. This is one of the most famous viola concertos by one of the Czech composers with the greatest talent and personality of the time.
SCHUMANN 3
Sara Ferrández i Cristian Macelaru
SALA 1 - PAU CASALS
Saturday, 12/11/2022 19:00
In Robert Schumann’s Symphony No. 3, associations were soon made with the agreeable nature of Rhineland and its inhabitants, washed by the waters of the Rhine: a river “born free” in the words of Hölderlin. An extroverted piece, with popular roots and an innovative narrative structure in five movements, it managed to capture moments of joy in a life dominated by depression. Its premiere, conducted by Schumann himself, was a triumphant success, with a fourth movement (“Feierlich”) considered to be one of the most inspired examples of his symphonic work.
Rhapsody-Concerto for Viola and Orchestra is a work by a composer more closely rooted in the traditions of Czech music, alongside figures such as Dvořák and Janáček, than mid 20th century avant-gardism. A composer with a distinctive personality, in this work from his late period, Bohuslav Martinů envelops the viola in calm, lyrical sounds. This is one of the most famous viola concertos by one of the Czech composers with the greatest talent and personality of the time.
Rhapsody-Concerto for Viola and Orchestra is a work by a composer more closely rooted in the traditions of Czech music, alongside figures such as Dvořák and Janáček, than mid 20th century avant-gardism. A composer with a distinctive personality, in this work from his late period, Bohuslav Martinů envelops the viola in calm, lyrical sounds. This is one of the most famous viola concertos by one of the Czech composers with the greatest talent and personality of the time.
13
Nov
WORKSHOP MA, ME, MI… MOZART!
ESPAI 5
Sunday, 13/11/2022 11:00
Sunday, 13/11/2022 11:00
WORKSHOP MA, ME, MI… MOZART!
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 13/11/2022 11:00
13
Nov
WORKSHOP MA, ME, MI… MOZART!
ESPAI 5
Sunday, 13/11/2022 12:15
Sunday, 13/11/2022 12:15
WORKSHOP MA, ME, MI… MOZART!
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 13/11/2022 12:15
13
Nov
ELVIS SYMPHONY SHOW
SALA 1 - PAU CASALS
Sunday, 13/11/2022 18:00
Sunday, 13/11/2022 18:00
ELVIS SYMPHONY SHOW
HOMENAJE A ELVIS PRESLEY
SALA 1 - PAU CASALS
Sunday, 13/11/2022 18:00
BRUTTER
Christian i Fredrik Wallumrød
SALA 3 - TETE MONTOLIU
Thursday, 17/11/2022 20:00
Disconcerting, mechanical, undanceable music.
Brothers Christian and Fredrik Wallumrød take the criticised concept of machine fetishism to new extremes. The duo’s sound is aggressive, contrasting with the trend in electronic music toward repetitive, symmetrical patterns, mainly based on loops. Brutter works on arrhythmias, hence bringing dance to a standstill through our clumsy bodies’ awareness of irregularities in the division of time. Through the use of sound, the spotlight is turned on human beings’ tendency to seek symmetry, an inclination so often questioned in the visual arts. Similarly, there is also a breakaway from any expectations relating to the instruments that they work with: the percussion is mechanical and the synthesiser avoids more “electric” sounds, creating a backdrop in which disintegrating rhythmic patterns achieve discursive continuity. Electronic sound is not used to complement the percussion’s expected rhythms, either harmonically or through melody. Instead, one instrument’s possibilities merge with those of the other, at times leading to interplay and, at other times, to interruptions.
Brothers Christian and Fredrik Wallumrød take the criticised concept of machine fetishism to new extremes. The duo’s sound is aggressive, contrasting with the trend in electronic music toward repetitive, symmetrical patterns, mainly based on loops. Brutter works on arrhythmias, hence bringing dance to a standstill through our clumsy bodies’ awareness of irregularities in the division of time. Through the use of sound, the spotlight is turned on human beings’ tendency to seek symmetry, an inclination so often questioned in the visual arts. Similarly, there is also a breakaway from any expectations relating to the instruments that they work with: the percussion is mechanical and the synthesiser avoids more “electric” sounds, creating a backdrop in which disintegrating rhythmic patterns achieve discursive continuity. Electronic sound is not used to complement the percussion’s expected rhythms, either harmonically or through melody. Instead, one instrument’s possibilities merge with those of the other, at times leading to interplay and, at other times, to interruptions.
18
Nov
STRAVINSKY: SIMFONIA DELS SALMS
SALA 1 - PAU CASALS
Friday, 18/11/2022 19:00
Friday, 18/11/2022 19:00
STRAVINSKY: SIMFONIA DELS SALMS
Bomsori Kim i Marta Gardolinska
SALA 1 - PAU CASALS
Friday, 18/11/2022 19:00
Symphony of Psalms is one of the works most representative of a period in which Igor Stravinsky, who had long moved on from his Rite of Spring, sought inspiration in European tradition, a process that began with his Octet for Wind Instruments (1923). It is a highly polished choral symphony, infused with strong religious sentiment. In its splendour, we can appreciate the tranquil return home that Milan Kundera spoke about in reference to this creative stage by the Russian composer.
Desolation expressed through sound. Few 20th century works have such a capacity to unsettle us as Threnody for the Victims of Hiroshima by Krzysztof Penderecki, a work that earned him international fame. Through quarter tones, big masses of sound and random features, the Polish composer infuses this wordless lament with huge expressive potential.
Karol Szymanowski is a composer who merits greater recognition than he actually achieved, given the quality, originality and influence of his work. His fascinating Violin Concerto No. 1 is a brilliant example of this, and it marked a turning point in the history of the genre when it was premiered in Warsaw one hundred years ago.
Fratres (Siblings) exudes all the monastic spirituality of tintinnabuli, the term coined by Arvo Pärt to define contemplative music built on the most rudimentary materials.
Desolation expressed through sound. Few 20th century works have such a capacity to unsettle us as Threnody for the Victims of Hiroshima by Krzysztof Penderecki, a work that earned him international fame. Through quarter tones, big masses of sound and random features, the Polish composer infuses this wordless lament with huge expressive potential.
Karol Szymanowski is a composer who merits greater recognition than he actually achieved, given the quality, originality and influence of his work. His fascinating Violin Concerto No. 1 is a brilliant example of this, and it marked a turning point in the history of the genre when it was premiered in Warsaw one hundred years ago.
Fratres (Siblings) exudes all the monastic spirituality of tintinnabuli, the term coined by Arvo Pärt to define contemplative music built on the most rudimentary materials.
19
Nov
MA, ME, MI...MOZART!
SALA 2 - ORIOL MARTORELL
Saturday, 19/11/2022 12:00
Saturday, 19/11/2022 12:00
MA, ME, MI...MOZART!
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 19/11/2022 12:00
The works of the composer from Salzburg, performed by six musicians with instruments from all the families: voice, accordion, bass clarinet, violin, flügelhorn and plucked string instruments. The arrangements are based on the music of Mozart, with styles, rhythms and harmonies more typical of today’s musical sensibilities. The costumes, staging, and antics of the performers keep the audience enthralled from start to finish.
19
Nov
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 19/11/2022 16:00
Saturday, 19/11/2022 16:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 19/11/2022 16:00
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
19
Nov
MA, ME, MI...MOZART!
SALA 2 - ORIOL MARTORELL
Saturday, 19/11/2022 17:00
Saturday, 19/11/2022 17:00
MA, ME, MI...MOZART!
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 19/11/2022 17:00
The works of the composer from Salzburg, performed by six musicians with instruments from all the families: voice, accordion, bass clarinet, violin, flügelhorn and plucked string instruments. The arrangements are based on the music of Mozart, with styles, rhythms and harmonies more typical of today’s musical sensibilities. The costumes, staging, and antics of the performers keep the audience enthralled from start to finish.
19
Nov
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 19/11/2022 17:15
Saturday, 19/11/2022 17:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 19/11/2022 17:15
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
19
Nov
STRAVINSKY: SIMFONIA DELS SALMS
SALA 1 - PAU CASALS
Saturday, 19/11/2022 19:00
Saturday, 19/11/2022 19:00
STRAVINSKY: SIMFONIA DELS SALMS
Bomsori i Marta Gardolinska
SALA 1 - PAU CASALS
Saturday, 19/11/2022 19:00
Symphony of Psalms is one of the works most representative of a period in which Igor Stravinsky, who had long moved on from his Rite of Spring, sought inspiration in European tradition, a process that began with his Octet for Wind Instruments (1923). It is a highly polished choral symphony, infused with strong religious sentiment. In its splendour, we can appreciate the tranquil return home that Milan Kundera spoke about in reference to this creative stage by the Russian composer.
Desolation expressed through sound. Few 20th century works have such a capacity to unsettle us as Threnody for the Victims of Hiroshima by Krzysztof Penderecki, a work that earned him international fame. Through quarter tones, big masses of sound and random features, the Polish composer infuses this wordless lament with huge expressive potential.
Karol Szymanowski is a composer who merits greater recognition than he actually achieved, given the quality, originality and influence of his work. His fascinating Violin Concerto No. 1 is a brilliant example of this, and it marked a turning point in the history of the genre when it was premiered in Warsaw one hundred years ago.
Fratres (Siblings) exudes all the monastic spirituality of tintinnabuli, the term coined by Arvo Pärt to define contemplative music built on the most rudimentary materials.
Desolation expressed through sound. Few 20th century works have such a capacity to unsettle us as Threnody for the Victims of Hiroshima by Krzysztof Penderecki, a work that earned him international fame. Through quarter tones, big masses of sound and random features, the Polish composer infuses this wordless lament with huge expressive potential.
Karol Szymanowski is a composer who merits greater recognition than he actually achieved, given the quality, originality and influence of his work. His fascinating Violin Concerto No. 1 is a brilliant example of this, and it marked a turning point in the history of the genre when it was premiered in Warsaw one hundred years ago.
Fratres (Siblings) exudes all the monastic spirituality of tintinnabuli, the term coined by Arvo Pärt to define contemplative music built on the most rudimentary materials.
20
Nov
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 10:00
Sunday, 20/11/2022 10:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 10:00
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
20
Nov
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 11:15
Sunday, 20/11/2022 11:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 11:15
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
20
Nov
MA, ME, MI...MOZART!
SALA 2 - ORIOL MARTORELL
Sunday, 20/11/2022 12:00
Sunday, 20/11/2022 12:00
MA, ME, MI...MOZART!
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 20/11/2022 12:00
The works of the composer from Salzburg, performed by six musicians with instruments from all the families: voice, accordion, bass clarinet, violin, flügelhorn and plucked string instruments. The arrangements are based on the music of Mozart, with styles, rhythms and harmonies more typical of today’s musical sensibilities. The costumes, staging, and antics of the performers keep the audience enthralled from start to finish.
20
Nov
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 12:30
Sunday, 20/11/2022 12:30
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 20/11/2022 12:30
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
URBAN RÈQUIEM
José Micó i BCN Sax Quartet
SALA 1 - PAU CASALS
Sunday, 20/11/2022 18:00
In Urban Requiem, Michael Colgrass, winner of a Pulitzer prize, takes us on a moving journey to the heart of Manhattan. The BCN Sax Quartet introduces us to an urban soundscape that recalls the golden years of the Big Apple, contrasting them with the languid deterioration of the late twentieth-century. Jazz is the basis of the work but the score includes a wide range of styles, from western classical music to the bright colours of Latin and Afro-American music. David Maslanka’s Requiem is not allegorical. It refers directly to the horrors of the Holocaust and the innocent, anonymous deaths caused by war. The music is calm and hopeful, however, designed to close wounds and move on.
José Micó, solo clarinettist with the Symphonic Band, plays the III Concerto for Clarinet and Concert Band by Óscar Navarro. This Valencian composer has made a name for himself internationally as a performer and the author of symphonic works and music for film soundtracks.
José Micó, solo clarinettist with the Symphonic Band, plays the III Concerto for Clarinet and Concert Band by Óscar Navarro. This Valencian composer has made a name for himself internationally as a performer and the author of symphonic works and music for film soundtracks.
23
Nov
LA RESURREZIONE DE HÄNDEL
SALA 1 - PAU CASALS
Wednesday, 23/11/2022 19:00
Wednesday, 23/11/2022 19:00
LA RESURREZIONE DE HÄNDEL
VESPRES D'ARNADÍ I DANI ESPASA
SALA 1 - PAU CASALS
Wednesday, 23/11/2022 19:00
26
Nov
SCHÖNBERG: PELLÉAS UND MÉLISANDE
SALA 1 - PAU CASALS
Saturday, 26/11/2022 19:00
Saturday, 26/11/2022 19:00
SCHÖNBERG: PELLÉAS UND MÉLISANDE
Andreas Ottensamer i Matthias Pintscher
SALA 1 - PAU CASALS
Saturday, 26/11/2022 19:00
A symphonic poem deeply rooted in Romanticism and end-of-century decadence based on a drama by Maurice Maeterlinck, Pelleas and Melisande dates back to Arnold Schoenberg’s early period, together with the Gurre-Lieder cycle (Songs of Gurre) and Verklärte Nacht (Transfigured Night), with which correspondences can be drawn. With an orchestra that contains certain Straussian echoes, it is almost possible to hear the death rattle of a dying world and another world on the point of exploding. Pelleas and Melisande also reflects the Viennese composer’s creative evolution, with tonal language whose expressive tension was taken to extremes. Indeed shortly afterwards, he would embark on “a more complex path”, as he recalled at the end of his life.
With his close familiarity with musical tradition and his tendency toward quotation and paraphrasing, Luciano Berio transformed the Sonata for Clarinet and Piano in F Minor No. 1, Op. 120 into the concerto that Johannes Brahms never wrote for this instrument. He did it at a stage–the 1980s–in which transcriptions and reconstructions were common. On this occasion, Berio took the dense, meticulous score for piano that enfolds the soloist and created an arrangement for orchestra.
In this work dedicated to the Vienna Philharmonic, which premiered it in 2015, the well-known Austrian composer Olga Neuwirth reflects on the nature of time and memory in her music. As the title, Clocks without Hands, indicates, memories are prone to fading.
With his close familiarity with musical tradition and his tendency toward quotation and paraphrasing, Luciano Berio transformed the Sonata for Clarinet and Piano in F Minor No. 1, Op. 120 into the concerto that Johannes Brahms never wrote for this instrument. He did it at a stage–the 1980s–in which transcriptions and reconstructions were common. On this occasion, Berio took the dense, meticulous score for piano that enfolds the soloist and created an arrangement for orchestra.
In this work dedicated to the Vienna Philharmonic, which premiered it in 2015, the well-known Austrian composer Olga Neuwirth reflects on the nature of time and memory in her music. As the title, Clocks without Hands, indicates, memories are prone to fading.
27
Nov
SCHÖNBERG: PELLÉAS UND MÉLISSANDE
SALA 1 - PAU CASALS
Sunday, 27/11/2022 11:00
Sunday, 27/11/2022 11:00
SCHÖNBERG: PELLÉAS UND MÉLISSANDE
Andreas Ottensamer i Matthias Pintscher
SALA 1 - PAU CASALS
Sunday, 27/11/2022 11:00
A symphonic poem deeply rooted in Romanticism and end-of-century decadence based on a drama by Maurice Maeterlinck, Pelleas and Melisande dates back to Arnold Schoenberg’s early period, together with the Gurre-Lieder cycle (Songs of Gurre) and Verklärte Nacht (Transfigured Night), with which correspondences can be drawn. With an orchestra that contains certain Straussian echoes, it is almost possible to hear the death rattle of a dying world and another world on the point of exploding. Pelleas and Melisande also reflects the Viennese composer’s creative evolution, with tonal language whose expressive tension was taken to extremes. Indeed shortly afterwards, he would embark on “a more complex path”, as he recalled at the end of his life.
With his close familiarity with musical tradition and his tendency toward quotation and paraphrasing, Luciano Berio transformed the Sonata for Clarinet and Piano in F Minor No. 1, Op. 120 into the concerto that Johannes Brahms never wrote for this instrument. He did it at a stage–the 1980s–in which transcriptions and reconstructions were common. On this occasion, Berio took the dense, meticulous score for piano that enfolds the soloist and created an arrangement for orchestra.
In this work dedicated to the Vienna Philharmonic, which premiered it in 2015, the well-known Austrian composer Olga Neuwirth reflects on the nature of time and memory in her music. As the title, Clocks without Hands, indicates, memories are prone to fading.
With his close familiarity with musical tradition and his tendency toward quotation and paraphrasing, Luciano Berio transformed the Sonata for Clarinet and Piano in F Minor No. 1, Op. 120 into the concerto that Johannes Brahms never wrote for this instrument. He did it at a stage–the 1980s–in which transcriptions and reconstructions were common. On this occasion, Berio took the dense, meticulous score for piano that enfolds the soloist and created an arrangement for orchestra.
In this work dedicated to the Vienna Philharmonic, which premiered it in 2015, the well-known Austrian composer Olga Neuwirth reflects on the nature of time and memory in her music. As the title, Clocks without Hands, indicates, memories are prone to fading.
27
Nov
MÚSIQUES ALPINES
SALA 1 - PAU CASALS
Sunday, 27/11/2022 18:00
Sunday, 27/11/2022 18:00
MÚSIQUES ALPINES
Santiago Cañón i Arnau Tomàs
SALA 1 - PAU CASALS
Sunday, 27/11/2022 18:00
Chróma is a work for two solo cellos, string instruments that do not form part of the Symphonic Band’s line up. The “colour” added by this unusual combination explains the title of this piece, which consists of four movements with chromatic themes: the silver of the night, the moon and the stars, the green of nature and hope, the red of love and passion, and the yellow of light and life. The concert brings together two great cellists, Santiago Cañón and Arnau Tomàs, under the baton of Swiss conductor Isabelle Ruf-Weber.
The other works in the programme are also by Swiss composers: a march by Trachsel; Solemnitas by Cesarini, inspired by a festival held each year in the German town of Burgdorf and using a popular tune with variations, and Waespi’s Divertimento, a piece full of contrasts, which takes us to the world of American popular music, including sounds resembling a New Orleans street procession and a traditional hoedown.
The other works in the programme are also by Swiss composers: a march by Trachsel; Solemnitas by Cesarini, inspired by a festival held each year in the German town of Burgdorf and using a popular tune with variations, and Waespi’s Divertimento, a piece full of contrasts, which takes us to the world of American popular music, including sounds resembling a New Orleans street procession and a traditional hoedown.
30
Nov
SCHUMANN I BRAHMS PIANO QUARTETS
SALA 2 - ORIOL MARTORELL
Wednesday, 30/11/2022 19:00
Wednesday, 30/11/2022 19:00
SCHUMANN I BRAHMS PIANO QUARTETS
SARA FERRÁNDEZ I TRIO DA VINCI
SALA 2 - ORIOL MARTORELL
Wednesday, 30/11/2022 19:00
The intense artistic relationship between Brahms and Clara and Robert Schumann is fundamental to understanding German musical romanticism.
In 1853, Johannes Brahms went to Clara and Robert Schumann's house to teach them some of his earliest compositions. From then on, all three maintained an intense relationship, both personally and artistically, which is fundamental to understanding German musical Romanticism. That same year, Clara Schumann composed Three Romances for Violin and Piano, Op. 22, which she dedicated to the Austro-Hungarian violinist, Joseph Joachim. Clara had a special affinity for the romantic genre, which enabled her to develop melodies with a strong sentimental character. In the first romance, she incorporates some elements, which are typical to gypsy music, just as Brahms does in the last movement of Piano Quartet in G minor, Op. 25. Brahms’ Quartet and Robert Schumann’s Piano Quartet in E-flat major, Op.47, are structured in four movements and combine melodies of great lyricism along with rhythmically energetic passages.
In 1853, Johannes Brahms went to Clara and Robert Schumann's house to teach them some of his earliest compositions. From then on, all three maintained an intense relationship, both personally and artistically, which is fundamental to understanding German musical Romanticism. That same year, Clara Schumann composed Three Romances for Violin and Piano, Op. 22, which she dedicated to the Austro-Hungarian violinist, Joseph Joachim. Clara had a special affinity for the romantic genre, which enabled her to develop melodies with a strong sentimental character. In the first romance, she incorporates some elements, which are typical to gypsy music, just as Brahms does in the last movement of Piano Quartet in G minor, Op. 25. Brahms’ Quartet and Robert Schumann’s Piano Quartet in E-flat major, Op.47, are structured in four movements and combine melodies of great lyricism along with rhythmically energetic passages.
3
Dec
L'OBC BALLA RAVEL
SALA 1 - PAU CASALS
Saturday, 3/12/2022 12:30
Saturday, 3/12/2022 12:30
L'OBC BALLA RAVEL
CONCERTS FAMILIARS 2022-2023
SALA 1 - PAU CASALS
Saturday, 3/12/2022 12:30
Sharing the same stage will be Sleeping Beauty, Patufet (Catalan folktale), Beauty and the Beast and many other protagonists of the children’s stories that inspired Ravel to compose one of his most original works.
3
Dec
OUT OF THE [CAGE]
SALA 3 - TETE MONTOLIU
Saturday, 3/12/2022 12:30
Saturday, 3/12/2022 12:30
OUT OF THE [CAGE]
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 3/12/2022 12:30
Step out of the cage and dare to enter a world where sound, noise and silence are arranged to create music. Share the journey through this limitless sound universe with four percussionists who stage 21st-century compositions based on the artistic imagination of one of the 20th-century's greatest figures: John Cage (1912-1992). Leave any preconceptions behind and open up your senses. Expect the unexpected.
3
Dec
OUT OF THE [CAGE]
SALA 3 - TETE MONTOLIU
Saturday, 3/12/2022 17:00
Saturday, 3/12/2022 17:00
OUT OF THE [CAGE]
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 3/12/2022 17:00
Step out of the cage and dare to enter a world where sound, noise and silence are arranged to create music. Share the journey through this limitless sound universe with four percussionists who stage 21st-century compositions based on the artistic imagination of one of the 20th-century's greatest figures: John Cage (1912-1992). Leave any preconceptions behind and open up your senses. Expect the unexpected.
RITA PAYÉS
Como la piel
SALA 1 - PAU CASALS
Saturday, 3/12/2022 21:00
4
Dec
OUT OF THE [CAGE]
SALA 3 - TETE MONTOLIU
Sunday, 4/12/2022 12:30
Sunday, 4/12/2022 12:30
OUT OF THE [CAGE]
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 4/12/2022 12:30
Step out of the cage and dare to enter a world where sound, noise and silence are arranged to create music. Share the journey through this limitless sound universe with four percussionists who stage 21st-century compositions based on the artistic imagination of one of the 20th-century's greatest figures: John Cage (1912-1992). Leave any preconceptions behind and open up your senses. Expect the unexpected.
13
Dec
HAYDN: LES SET ÚLTIMES PARAULES
ESCENARI SALA PAU CASALS
Tuesday, 13/12/2022 19:00
Tuesday, 13/12/2022 19:00
HAYDN: LES SET ÚLTIMES PARAULES
ENSEMBLE O VOS OMNES - QUARTET GERHARD
ESCENARI SALA PAU CASALS
Tuesday, 13/12/2022 19:00
From pain to consolation, from maternal companionship to bewildering loneliness, from transcendence to physical suffering.
The Seven Last Words of our Saviour on the Cross by Joseph Haydn is one of the works which most closely related this season’s theme – mortality. From the second half of the 18th century onwards, Haydn's popularity began to move across international frontiers. In 1786 the Congregation of Santa Cova, (the Holy Cave), in Cadiz commissioned a work for the Good Friday religious ceremony. Through seven ‘sonatas’, Haydn goes over, one by one, the last words that Christ uttered just before he was crucified. Aiming to be completely faithful to the words of the Gospels, Haydn musically captures very different moods: from the pain of the first word, to the consolation of the sixth; from the maternal companionship of the third to the bewildering loneliness of the fourth; from the transcendence of the second to the physical suffering of the fifth. In addition to the seven sonatas, Haydn added an introduction movement and a final "Earthquake" movement, which is considerably louder and more agitated than the rest of the work.
The Seven Last Words of our Saviour on the Cross by Joseph Haydn is one of the works which most closely related this season’s theme – mortality. From the second half of the 18th century onwards, Haydn's popularity began to move across international frontiers. In 1786 the Congregation of Santa Cova, (the Holy Cave), in Cadiz commissioned a work for the Good Friday religious ceremony. Through seven ‘sonatas’, Haydn goes over, one by one, the last words that Christ uttered just before he was crucified. Aiming to be completely faithful to the words of the Gospels, Haydn musically captures very different moods: from the pain of the first word, to the consolation of the sixth; from the maternal companionship of the third to the bewildering loneliness of the fourth; from the transcendence of the second to the physical suffering of the fifth. In addition to the seven sonatas, Haydn added an introduction movement and a final "Earthquake" movement, which is considerably louder and more agitated than the rest of the work.
15
Dec
MACHAUT- ARCHITEKTUREN
SALA 2 - ORIOL MARTORELL
Thursday, 15/12/2022 19:00
Thursday, 15/12/2022 19:00
MACHAUT- ARCHITEKTUREN
FRAMES PERCUSION & CROSSINGLINES
SALA 2 - ORIOL MARTORELL
Thursday, 15/12/2022 19:00
A minute analysis of sound.
Dust is a good illustration of Rebecca Saunder’s work for two reasons: first, due to her interest in the writings of Samuel Beckett, viewed from a compositional standpoint (the piece is based on two quotes, one from The Unnamable and the other from That time by Beckett); and second, due to her minute analysis of sounds. Dust is a “film” that is deposited on objects, and it is from this perspective–from this “wordless thing in any empty space”–that she urges us to listen. José María Sánchez-Verdú is a composer with a fascination for cultural, spatial, artistic and temporal mixes. In Machaut-Architektur (Machaut-Architecture), he takes Guillaume de Machaut’s Messe de Nostre Dame (Mass of Our Lady) as his starting point, using some of its features in more contemporary style; for instance, “columns of sound” generated by the instruments (as opposed to the former custom of vocal columns) or rhythmic repetitions (talea) used as structural aids. Both pieces will enter into dialogue with the two premiered works: Montserrat Lladó’s music, characterised by deep–often gloomy–layers of textural sound, and José Mora’s concise work, reflecting his own personal imaginative approach to composition.
Dust is a good illustration of Rebecca Saunder’s work for two reasons: first, due to her interest in the writings of Samuel Beckett, viewed from a compositional standpoint (the piece is based on two quotes, one from The Unnamable and the other from That time by Beckett); and second, due to her minute analysis of sounds. Dust is a “film” that is deposited on objects, and it is from this perspective–from this “wordless thing in any empty space”–that she urges us to listen. José María Sánchez-Verdú is a composer with a fascination for cultural, spatial, artistic and temporal mixes. In Machaut-Architektur (Machaut-Architecture), he takes Guillaume de Machaut’s Messe de Nostre Dame (Mass of Our Lady) as his starting point, using some of its features in more contemporary style; for instance, “columns of sound” generated by the instruments (as opposed to the former custom of vocal columns) or rhythmic repetitions (talea) used as structural aids. Both pieces will enter into dialogue with the two premiered works: Montserrat Lladó’s music, characterised by deep–often gloomy–layers of textural sound, and José Mora’s concise work, reflecting his own personal imaginative approach to composition.
CHARPENTIER
EL SO ORIGINAL. JORDI SAVALL
SALA 1 - PAU CASALS
Thursday, 15/12/2022 19:00
16
Dec
BRAHMS: PIANO CONCERTO
SALA 1 - PAU CASALS
Friday, 16/12/2022 19:00
Friday, 16/12/2022 19:00
BRAHMS: PIANO CONCERTO
Andreas Haefliger i Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 16/12/2022 19:00
A long, tortuous process led to the creation of Piano Concerto No. 1 by Johannes Brahms. A work originally conceived as a sonata and later as a possible symphony, it constitutes a landmark in piano concertos. The tragic aura perceptible from the opening bars has often been associated with the decline and death of his friend Robert Schumann in 1856. The young Brahms created a work with its roots in the past and its eyes on the future, and it aroused equal amounts of astonishment and irritation in its day. It is a paradigmatic Romantic concerto, bearing Brahms’ unmistakeable personal hallmark.
Felip Pedrell, who was responsible for breathing new life into music in Spain and helping to disseminate the work of Richard Wagner, embarked on a new pathway in the creation of Excelsior, a symphonic poem with a Wagnerian air. He would later go on to write work such as Els Pirineus (The Pyrenees) and El comte Arnau (Count Arnau).
“An epiphany in sound, based on the eternal movement of the natural metamorphoses found in the midst of the real world”. This is how Henri Dutilleux defined his Métaboles, a superb timbral and formal study, filled with recurrent mystic symbols by the French wizard of sound.
Felip Pedrell, who was responsible for breathing new life into music in Spain and helping to disseminate the work of Richard Wagner, embarked on a new pathway in the creation of Excelsior, a symphonic poem with a Wagnerian air. He would later go on to write work such as Els Pirineus (The Pyrenees) and El comte Arnau (Count Arnau).
“An epiphany in sound, based on the eternal movement of the natural metamorphoses found in the midst of the real world”. This is how Henri Dutilleux defined his Métaboles, a superb timbral and formal study, filled with recurrent mystic symbols by the French wizard of sound.
17
Dec
BRAHMS: PIANO CONCERTO
SALA 1 - PAU CASALS
Saturday, 17/12/2022 19:00
Saturday, 17/12/2022 19:00
BRAHMS: PIANO CONCERTO
Andreas Haefliger i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 17/12/2022 19:00
A long, tortuous process led to the creation of Piano Concerto No. 1 by Johannes Brahms. A work originally conceived as a sonata and later as a possible symphony, it constitutes a landmark in piano concertos. The tragic aura perceptible from the opening bars has often been associated with the decline and death of his friend Robert Schumann in 1856. The young Brahms created a work with its roots in the past and its eyes on the future, and it aroused equal amounts of astonishment and irritation in its day. It is a paradigmatic Romantic concerto, bearing Brahms’ unmistakeable personal hallmark.
Felip Pedrell, who was responsible for breathing new life into music in Spain and helping to disseminate the work of Richard Wagner, embarked on a new pathway in the creation of Excelsior, a symphonic poem with a Wagnerian air. He would later go on to write work such as Els Pirineus (The Pyrenees) and El comte Arnau (Count Arnau).
“An epiphany in sound, based on the eternal movement of the natural metamorphoses found in the midst of the real world”. This is how Henri Dutilleux defined his Métaboles, a superb timbral and formal study, filled with recurrent mystic symbols by the French wizard of sound.
Felip Pedrell, who was responsible for breathing new life into music in Spain and helping to disseminate the work of Richard Wagner, embarked on a new pathway in the creation of Excelsior, a symphonic poem with a Wagnerian air. He would later go on to write work such as Els Pirineus (The Pyrenees) and El comte Arnau (Count Arnau).
“An epiphany in sound, based on the eternal movement of the natural metamorphoses found in the midst of the real world”. This is how Henri Dutilleux defined his Métaboles, a superb timbral and formal study, filled with recurrent mystic symbols by the French wizard of sound.
18
Dec
CONCERT DE NADAL
SALA 1 - PAU CASALS
Sunday, 18/12/2022 18:00
Sunday, 18/12/2022 18:00
CONCERT DE NADAL
Marta Mathéu i José R. Pascual-Vilaplana
SALA 1 - PAU CASALS
Sunday, 18/12/2022 18:00
Christmas is a time of traditions and Nadales catalanes by Salvador Brotons is a regular feature of the Symphonic Band’s seasonal repertoire, although it will be the closing item in a programme full of novelties. The concert will include the first performance of Albert Guinovart’s Quatre cançons populars catalanes with a new arrangement for symphonic band. José R. Pascual-Vilaplana appears for the first time as resident conductor in a performance of one of his own works, Les quatre estacions, written for voice and band. It is based on the poem of the same name by Joan Tomàs Jordà i Sanchis, commissioned by Unión Musical Ciutat d’Assís and first performed at a charity concert in support of the Metastatic Breast Cancer Association. A Christmas Overture by Nigel Hess recalls popular Christmas carols such as Ha nascut el Déu Infant (Il est né le divin enfant) and Els àngels allà a la Glòria (Angels from the Realms of Glory). The programme is completed by Lauridsen’s calm, ethereal motet O Magnum Misterium and the joyful waltz Il bacio, Aldighieri’s poem set to music by Arditi.
29
Dec
MA, ME, MI...MOZART! NADAL
SALA 2 - ORIOL MARTORELL
Thursday, 29/12/2022 12:00
Thursday, 29/12/2022 12:00
MA, ME, MI...MOZART! NADAL
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Thursday, 29/12/2022 12:00
The works of the composer from Salzburg, performed by six musicians with instruments from all the families: voice, accordion, bass clarinet, violin, flügelhorn and plucked string instruments. The arrangements are based on the music of Mozart, with styles, rhythms and harmonies more typical of today’s musical sensibilities. The costumes, staging, and antics of the performers keep the audience enthralled from start to finish.
30
Dec
MA, ME, MI...MOZART! NADAL
SALA 2 - ORIOL MARTORELL
Friday, 30/12/2022 12:00
Friday, 30/12/2022 12:00
MA, ME, MI...MOZART! NADAL
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Friday, 30/12/2022 12:00
The works of the composer from Salzburg, performed by six musicians with instruments from all the families: voice, accordion, bass clarinet, violin, flügelhorn and plucked string instruments. The arrangements are based on the music of Mozart, with styles, rhythms and harmonies more typical of today’s musical sensibilities. The costumes, staging, and antics of the performers keep the audience enthralled from start to finish.
30
Dec
CAP D'ANY AMB GERSHWIN
SALA 1 - PAU CASALS
Friday, 30/12/2022 19:00
Friday, 30/12/2022 19:00
CAP D'ANY AMB GERSHWIN
Albert Guinovart i José R. Pascual-Vilaplana
SALA 1 - PAU CASALS
Friday, 30/12/2022 19:00
George Gershwin became one of the most famous composers of his time in the United States. The fresh, light-hearted, popular style of music he wrote connected with American society in the “Roaring Twenties” of the last century. The second part of the programme includes a miscellany of the composer’s best known works. First, we hear the suite for band and piano by Albert Guinovart, in which he also plays as soloist, and then a collection of fragments from the opera Porgy and Bess, still one of his most popular works, which includes the unforgettable lullaby Summertime. Guinovart also performs the Piano Concerto in F, a sensual, suggestive score that transports us to the New York of jazz, blues and music that is still familiar to us a hundred years later.
UP
PIXAR
SALA 1 - PAU CASALS
Saturday, 7/01/2023 11:00
A great soundtrack for a great film.
Presentation of the complete film (original version with Catalan subtitles) with a live performance by the OBC of the film’s entire score by Michael Giacchino.
Michael Giacchino has achieved well-merited fame as a soundtrack composer. He has forged a long career in music for the audio-visual industry, creating soundtracks for films, series and videogames. This has culminated in his much acclaimed work for the animation studio Pixar, including the soundtracks for The Incredibles (2004), Ratatouille (2007) and Inside Out (2015). In a career dotted with successes, a highpoint was nonetheless reached with UP (2009), which earned him an Oscar. UP has been praised for its symbolic potential to express major aspects of the human condition, in particular death and hope seen through the plot of the film: old Carl Fredricksen’s difficulty in accepting the death of his wife. The magnificent soundtrack stands out in many ways in all this, for instance, through the use of leitmotifs or Giacchino’s inspired melody in a work that explores all the registers of narrative, creating complex emotional associations and reflecting the psychology of characters who are impossible to forget. It is one of the great soundtracks of our time for an animated film of equal importance.
Presentation of the complete film (original version with Catalan subtitles) with a live performance by the OBC of the film’s entire score by Michael Giacchino.
Michael Giacchino has achieved well-merited fame as a soundtrack composer. He has forged a long career in music for the audio-visual industry, creating soundtracks for films, series and videogames. This has culminated in his much acclaimed work for the animation studio Pixar, including the soundtracks for The Incredibles (2004), Ratatouille (2007) and Inside Out (2015). In a career dotted with successes, a highpoint was nonetheless reached with UP (2009), which earned him an Oscar. UP has been praised for its symbolic potential to express major aspects of the human condition, in particular death and hope seen through the plot of the film: old Carl Fredricksen’s difficulty in accepting the death of his wife. The magnificent soundtrack stands out in many ways in all this, for instance, through the use of leitmotifs or Giacchino’s inspired melody in a work that explores all the registers of narrative, creating complex emotional associations and reflecting the psychology of characters who are impossible to forget. It is one of the great soundtracks of our time for an animated film of equal importance.
UP
PIXAR
SALA 1 - PAU CASALS
Saturday, 7/01/2023 17:00
A great soundtrack for a great film.
Presentation of the complete film (original version with Catalan subtitles) with a live performance by the OBC of the film’s entire score by Michael Giacchino.
Michael Giacchino has achieved well-merited fame as a soundtrack composer. He has forged a long career in music for the audio-visual industry, creating soundtracks for films, series and videogames. This has culminated in his much acclaimed work for the animation studio Pixar, including the soundtracks for The Incredibles (2004), Ratatouille (2007) and Inside Out (2015). In a career dotted with successes, a highpoint was nonetheless reached with UP (2009), which earned him an Oscar. UP has been praised for its symbolic potential to express major aspects of the human condition, in particular death and hope seen through the plot of the film: old Carl Fredricksen’s difficulty in accepting the death of his wife. The magnificent soundtrack stands out in many ways in all this, for instance, through the use of leitmotifs or Giacchino’s inspired melody in a work that explores all the registers of narrative, creating complex emotional associations and reflecting the psychology of characters who are impossible to forget. It is one of the great soundtracks of our time for an animated film of equal importance.
Presentation of the complete film (original version with Catalan subtitles) with a live performance by the OBC of the film’s entire score by Michael Giacchino.
Michael Giacchino has achieved well-merited fame as a soundtrack composer. He has forged a long career in music for the audio-visual industry, creating soundtracks for films, series and videogames. This has culminated in his much acclaimed work for the animation studio Pixar, including the soundtracks for The Incredibles (2004), Ratatouille (2007) and Inside Out (2015). In a career dotted with successes, a highpoint was nonetheless reached with UP (2009), which earned him an Oscar. UP has been praised for its symbolic potential to express major aspects of the human condition, in particular death and hope seen through the plot of the film: old Carl Fredricksen’s difficulty in accepting the death of his wife. The magnificent soundtrack stands out in many ways in all this, for instance, through the use of leitmotifs or Giacchino’s inspired melody in a work that explores all the registers of narrative, creating complex emotional associations and reflecting the psychology of characters who are impossible to forget. It is one of the great soundtracks of our time for an animated film of equal importance.
WORKSHOP: PICA-SO
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 8/01/2023 11:00
In this workshop, you will work with the music from the “Pica-So” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
WORKSHOP: PICA-SO
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 8/01/2023 12:15
In this workshop, you will work with the music from the “Pica-So” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
12
Jan
2023
ELS FELIÇOS ANYS VINT
SALA 2 - ORIOL MARTORELL
Thursday, 12/01/2023 11:30
Thursday, 12/01/2023 11:30
ELS FELIÇOS ANYS VINT
APROPA'T A LA BANDA
SALA 2 - ORIOL MARTORELL
Thursday, 12/01/2023 11:30
A hundred years ago, American cities like New York and Chicago experienced a boom in popular music and entertainment that ran parallel to the construction of skyscrapers and the growth of the automobile industry. Jazz, blues and swing were to be heard in leisure venues everywhere, music that spread all over the world, also becoming popular in Catalonia. In this concert, Symphonic Band offers a programme with such well known works as George Hamilton Green’s Charleston and William Christopher Handy’s blues music, plus works by renowned composers George Gershwin, Cole Porter and Charles Chaplin, who, in addition to acting and directing, also wrote the theme tunes for some of his films. As well as all these North American tunes, the concert includes a change in rhythm with a selection of Carlos Gardel’s best known tangos.
14
Jan
2023
NIÑO DE ELCHE
SALA 2 - ORIOL MARTORELL
Saturday, 14/01/2023 20:00
Saturday, 14/01/2023 20:00
NIÑO DE ELCHE
SALA 2 - ORIOL MARTORELL
Saturday, 14/01/2023 20:00
WORKSHOP: PICA-SO
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 15/01/2023 11:00
In this workshop, you will work with the music from the “Pica-So” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
WORKSHOP: PICA-SO
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 15/01/2023 12:15
In this workshop, you will work with the music from the “Pica-So” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 28/01 at 5 pm and 29/01 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
15
Jan
2023
ZOOM. DIES DE MÚSIC
SALA 1 - PAU CASALS
Sunday, 15/01/2023 12:30
Sunday, 15/01/2023 12:30
ZOOM. DIES DE MÚSIC
CONCERTS FAMILIARS 2022-2023
SALA 1 - PAU CASALS
Sunday, 15/01/2023 12:30
18
Jan
2023
AFTER MARYANNE AMACHER
SALA 3 - TETE MONTOLIU
Wednesday, 18/01/2023 20:00
Wednesday, 18/01/2023 20:00
AFTER MARYANNE AMACHER
THOMAS ANKERSMIT
SALA 3 - TETE MONTOLIU
Wednesday, 18/01/2023 20:00
The sound of a history of silence.
The documentary Sisters with Transistors could not be more clearly presented: “The history of women has been a history of silence. Music is no exception”. In a world in which technology is associated with men, women in electronic music have been doubly silenced. The documentary reveals that, in this case, it is not just yet another example of women being overlooked, because many of them were actual pioneers in bridging the gap between technology and sound. Hence, failure to acknowledge them is tantamount to overlooking the origins of this genre. Thomas Ankersmit dedicates Perceptual Geography to Maryanne Amacher, not so much by way of a tribute but as an expression of her influence. They both coincided in New York in the year 2000 and they remained in contact until the artist’s death in 2009. The piece was composed for a Serge analogue modular synthesiser, developed by Serge Tcherepnin (together with Rich Gold and Randy Cohen) in late 1972. The piece seeks to generate otoacoustic emissions; that is, a reaction by the cochlea to certain sounds so that we hear more things than the sounds that are really being produced. Maria W Horn’s compositions (1989) are based on minimalist structures and her music explores the spectral properties of sound, using generative and algorithmic processes to control tuning and timbre.
The documentary Sisters with Transistors could not be more clearly presented: “The history of women has been a history of silence. Music is no exception”. In a world in which technology is associated with men, women in electronic music have been doubly silenced. The documentary reveals that, in this case, it is not just yet another example of women being overlooked, because many of them were actual pioneers in bridging the gap between technology and sound. Hence, failure to acknowledge them is tantamount to overlooking the origins of this genre. Thomas Ankersmit dedicates Perceptual Geography to Maryanne Amacher, not so much by way of a tribute but as an expression of her influence. They both coincided in New York in the year 2000 and they remained in contact until the artist’s death in 2009. The piece was composed for a Serge analogue modular synthesiser, developed by Serge Tcherepnin (together with Rich Gold and Randy Cohen) in late 1972. The piece seeks to generate otoacoustic emissions; that is, a reaction by the cochlea to certain sounds so that we hear more things than the sounds that are really being produced. Maria W Horn’s compositions (1989) are based on minimalist structures and her music explores the spectral properties of sound, using generative and algorithmic processes to control tuning and timbre.
20
Jan
2023
RAKHMÀNINOV 2
SALA 1 - PAU CASALS
Friday, 20/01/2023 19:00
Friday, 20/01/2023 19:00
RAKHMÀNINOV 2
Luis Codera Puzo i Nacho de Paz
SALA 1 - PAU CASALS
Friday, 20/01/2023 19:00
Death and rebirth are both present in Sergei Rachmaninoff’s Symphony No. 2, an excellent illustration of his mature period, premiered in Saint Petersburg and conducted by the composer himself. It represents the Russian composer’s symphonic rebirth after the disaster of his first symphony ten years before, which plunged him into a depression and stopped him from composing for a time. The reference to the famous Dies irae from the funeral mass, present in all his symphonies, features prominently throughout the four movements. Written shortly after he moved to Dresden, during a lull between the two most turbulent periods in his life, this long symphony illustrates many of his finest strengths as a composer, including his boundless melodic imagination and the palette of colours that he draws from the orchestra. The symphony also reflects Tchaikovsky’s influences.
The mythical backdrop to Das Rheingold (The Rhinegold)–unrooted in any particular time or place–unfolds in a prelude, not just to an opera but to a tetralogy. Through a skilful use of harmony and timbre, a musical world is organically shaped.
In Luis Codera Puzo’s premiere, the notion of latent sound in Wagner’s prelude is used to give full rein to his fascinating musical universe, accompanied by an analogue modular synthesiser that interacts live with the orchestra.
The mythical backdrop to Das Rheingold (The Rhinegold)–unrooted in any particular time or place–unfolds in a prelude, not just to an opera but to a tetralogy. Through a skilful use of harmony and timbre, a musical world is organically shaped.
In Luis Codera Puzo’s premiere, the notion of latent sound in Wagner’s prelude is used to give full rein to his fascinating musical universe, accompanied by an analogue modular synthesiser that interacts live with the orchestra.
20
Jan
2023
ESMUC JAZZ PROJECT
SALA 2 - ORIOL MARTORELL
Friday, 20/01/2023 20:00
Friday, 20/01/2023 20:00
ESMUC JAZZ PROJECT
SALA 2 - ORIOL MARTORELL
Friday, 20/01/2023 20:00
21
Jan
2023
RAKHMÀNINOV 2
SALA 1 - PAU CASALS
Saturday, 21/01/2023 19:00
Saturday, 21/01/2023 19:00
RAKHMÀNINOV 2
Luis Codera Puzo i Nacho de Paz
SALA 1 - PAU CASALS
Saturday, 21/01/2023 19:00
Death and rebirth are both present in Sergei Rachmaninoff’s Symphony No. 2, an excellent illustration of his mature period, premiered in Saint Petersburg and conducted by the composer himself. It represents the Russian composer’s symphonic rebirth after the disaster of his first symphony ten years before, which plunged him into a depression and stopped him from composing for a time. The reference to the famous Dies irae from the funeral mass, present in all his symphonies, features prominently throughout the four movements. Written shortly after he moved to Dresden, during a lull between the two most turbulent periods in his life, this long symphony illustrates many of his finest strengths as a composer, including his boundless melodic imagination and the palette of colours that he draws from the orchestra. The symphony also reflects Tchaikovsky’s influences.
The mythical backdrop to Das Rheingold (The Rhinegold)–unrooted in any particular time or place–unfolds in a prelude, not just to an opera but to a tetralogy. Through a skilful use of harmony and timbre, a musical world is organically shaped.
In Luis Codera Puzo’s premiere, the notion of latent sound in Wagner’s prelude is used to give full rein to his fascinating musical universe, accompanied by an analogue modular synthesiser that interacts live with the orchestra.
The mythical backdrop to Das Rheingold (The Rhinegold)–unrooted in any particular time or place–unfolds in a prelude, not just to an opera but to a tetralogy. Through a skilful use of harmony and timbre, a musical world is organically shaped.
In Luis Codera Puzo’s premiere, the notion of latent sound in Wagner’s prelude is used to give full rein to his fascinating musical universe, accompanied by an analogue modular synthesiser that interacts live with the orchestra.
22
Jan
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 10:30
Sunday, 22/01/2023 10:30
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 10:30
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
22
Jan
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 11:45
Sunday, 22/01/2023 11:45
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 11:45
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
22
Jan
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 16:00
Sunday, 22/01/2023 16:00
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 16:00
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
22
Jan
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 17:15
Sunday, 22/01/2023 17:15
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 22/01/2023 17:15
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
22
Jan
2023
RAPSÒDIA HONGARESA
SALA 1 - PAU CASALS
Sunday, 22/01/2023 18:00
Sunday, 22/01/2023 18:00
RAPSÒDIA HONGARESA
László Marosi
SALA 1 - PAU CASALS
Sunday, 22/01/2023 18:00
Béla Bartók is the best known of the Hungarian composers who delightedly rediscovered the wealth of their country’s traditional music in the first half of the twentieth century. A series of musicians followed in their footsteps, confirming Hungary’s position in the world of international composition. In this concert, conductor László Marosi offers original works for band by such renowned composers as Kamilló Lendvay, internationally famous and winner of numerous awards, and Frigyes Hidas. The Band will also play the brilliant, joyful suite from the ballet The Magic Potion by György Ránki, who studied ethnomusicology and worked at the Ethnographic Museum in Budapest. While Bartók was the standard-bearer of avant-garde music, Franz Liszt was the leading figure among the romantics. His Hungarian Rhapsodies, the second of which is the best known, are a fine mix of traditional Romani and Hungarian melodies.
28
Jan
2023
PICA-SO
SALA 2 - ORIOL MARTORELL
Saturday, 28/01/2023 12:00
Saturday, 28/01/2023 12:00
PICA-SO
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 28/01/2023 12:00
Come to the L’Auditori and discover the musical world of one of the greatest painters of the 20th century. Pablo Picasso brings us closer to flamenco, the music of modernist Barcelona, the Russian ballets and even the couplet and the French chanson.
28
Jan
2023
PICA-SO
SALA 2 - ORIOL MARTORELL
Saturday, 28/01/2023 17:00
Saturday, 28/01/2023 17:00
PICA-SO
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 28/01/2023 17:00
Come to the L’Auditori and discover the musical world of one of the greatest painters of the 20th century. Pablo Picasso brings us closer to flamenco, the music of modernist Barcelona, the Russian ballets and even the couplet and the French chanson.
28
Jan
2023
DE FALLA: NOCHES EN LOS JARDINES DE ESPAÑA
SALA 1 - PAU CASALS
Saturday, 28/01/2023 19:00
Saturday, 28/01/2023 19:00
DE FALLA: NOCHES EN LOS JARDINES DE ESPAÑA
Bertrand Chamayou i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 28/01/2023 19:00
The most brilliant work from Manuel de Falla’s mature stage.
Following Manuel de Falla’s literal use of folksongs in previous works, Noches en los jardines de España (Nights in the Gardens of Spain), written at a similar time to Siete canciones populares españolas (Seven Popular Spanish Songs) and El amor brujo (Love, the Magician), marked a highpoint in the composer’s mature stage. It was a period that crystallised in the extolment of popular heritage and the recreation of folklore. The inspiration for Noches en los jardines de España was Jardins d’Espanya (Gardens of Spain), a series of paintings by Santiago Rusiñol, with nature neatly organised by man in the foreground and a wild, untamed vision of it in the background, all steeped in an intimate aura of mystery. Originally conceived as four nocturnes for piano, Falla finally wrote three pieces for piano and orchestra, conjuring up endless images as from the first garden (“In the Generalife”): an imagined Granada, only known to Falla back then through the guidebook Granada, an Emotional Guide by María Lejárraga.
Desire and death are the ingredients of La Damoiselle élue (The Blessed Damozel), written by Claude Debussy in the midst of his Wagnerian period: a cantata inspired by a poem by Dante Gabriel Rossetti, which recaptures the evocative atmosphere of both the poem and the oil painting of the same name.
Written in memory of a friend and admirer and premiered by Eugène Ysaÿe and Joseph Hollman at a time when his work had achieved great acclaim, La muse et le poète is a magnificent example of Camille Saint-Saëns’ polished lyrical style, giving soloists broad freedom of expression.
Few piano concertos written during the last one hundred years have such symbolic connotations as Piano Concerto for Left Hand in D major, one of Ravel’s most well-rounded works, composed for pianist Paul Wittgenstein, who had lost his right hand during the First World War.
Following Manuel de Falla’s literal use of folksongs in previous works, Noches en los jardines de España (Nights in the Gardens of Spain), written at a similar time to Siete canciones populares españolas (Seven Popular Spanish Songs) and El amor brujo (Love, the Magician), marked a highpoint in the composer’s mature stage. It was a period that crystallised in the extolment of popular heritage and the recreation of folklore. The inspiration for Noches en los jardines de España was Jardins d’Espanya (Gardens of Spain), a series of paintings by Santiago Rusiñol, with nature neatly organised by man in the foreground and a wild, untamed vision of it in the background, all steeped in an intimate aura of mystery. Originally conceived as four nocturnes for piano, Falla finally wrote three pieces for piano and orchestra, conjuring up endless images as from the first garden (“In the Generalife”): an imagined Granada, only known to Falla back then through the guidebook Granada, an Emotional Guide by María Lejárraga.
Desire and death are the ingredients of La Damoiselle élue (The Blessed Damozel), written by Claude Debussy in the midst of his Wagnerian period: a cantata inspired by a poem by Dante Gabriel Rossetti, which recaptures the evocative atmosphere of both the poem and the oil painting of the same name.
Written in memory of a friend and admirer and premiered by Eugène Ysaÿe and Joseph Hollman at a time when his work had achieved great acclaim, La muse et le poète is a magnificent example of Camille Saint-Saëns’ polished lyrical style, giving soloists broad freedom of expression.
Few piano concertos written during the last one hundred years have such symbolic connotations as Piano Concerto for Left Hand in D major, one of Ravel’s most well-rounded works, composed for pianist Paul Wittgenstein, who had lost his right hand during the First World War.
28
Jan
2023
CONSTANZA BRNCIC I ALFREDO COSTA MONTEIRO
SALA 3 - TETE MONTOLIU
Saturday, 28/01/2023 20:00
Saturday, 28/01/2023 20:00
CONSTANZA BRNCIC I ALFREDO COSTA MONTEIRO
DEATH OR RETURN (I)
SALA 3 - TETE MONTOLIU
Saturday, 28/01/2023 20:00
29
Jan
2023
DE FALLA: NOCHES EN LOS JARDINES DE ESPAÑA
SALA 1 - PAU CASALS
Sunday, 29/01/2023 11:00
Sunday, 29/01/2023 11:00
DE FALLA: NOCHES EN LOS JARDINES DE ESPAÑA
Bertrand Chamayou i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 29/01/2023 11:00
The most brilliant work from Manuel de Falla’s mature stage.
Following Manuel de Falla’s literal use of folksongs in previous works, Noches en los jardines de España (Nights in the Gardens of Spain), written at a similar time to Siete canciones populares españolas (Seven Popular Spanish Songs) and El amor brujo (Love, the Magician), marked a highpoint in the composer’s mature stage. It was a period that crystallised in the extolment of popular heritage and the recreation of folklore. The inspiration for Noches en los jardines de España was Jardins d’Espanya (Gardens of Spain), a series of paintings by Santiago Rusiñol, with nature neatly organised by man in the foreground and a wild, untamed vision of it in the background, all steeped in an intimate aura of mystery. Originally conceived as four nocturnes for piano, Falla finally wrote three pieces for piano and orchestra, conjuring up endless images as from the first garden (“In the Generalife”): an imagined Granada, only known to Falla back then through the guidebook Granada, an Emotional Guide by María Lejárraga.
Desire and death are the ingredients of La Damoiselle élue (The Blessed Damozel), written by Claude Debussy in the midst of his Wagnerian period: a cantata inspired by a poem by Dante Gabriel Rossetti, which recaptures the evocative atmosphere of both the poem and the oil painting of the same name.
Written in memory of a friend and admirer and premiered by Eugène Ysaÿe and Joseph Hollman at a time when his work had achieved great acclaim, La muse et le poète is a magnificent example of Camille Saint-Saëns’ polished lyrical style, giving soloists broad freedom of expression.
Few piano concertos written during the last one hundred years have such symbolic connotations as Piano Concerto for Left Hand in D major, one of Ravel’s most well-rounded works, composed for pianist Paul Wittgenstein, who had lost his right hand during the First World War.
Following Manuel de Falla’s literal use of folksongs in previous works, Noches en los jardines de España (Nights in the Gardens of Spain), written at a similar time to Siete canciones populares españolas (Seven Popular Spanish Songs) and El amor brujo (Love, the Magician), marked a highpoint in the composer’s mature stage. It was a period that crystallised in the extolment of popular heritage and the recreation of folklore. The inspiration for Noches en los jardines de España was Jardins d’Espanya (Gardens of Spain), a series of paintings by Santiago Rusiñol, with nature neatly organised by man in the foreground and a wild, untamed vision of it in the background, all steeped in an intimate aura of mystery. Originally conceived as four nocturnes for piano, Falla finally wrote three pieces for piano and orchestra, conjuring up endless images as from the first garden (“In the Generalife”): an imagined Granada, only known to Falla back then through the guidebook Granada, an Emotional Guide by María Lejárraga.
Desire and death are the ingredients of La Damoiselle élue (The Blessed Damozel), written by Claude Debussy in the midst of his Wagnerian period: a cantata inspired by a poem by Dante Gabriel Rossetti, which recaptures the evocative atmosphere of both the poem and the oil painting of the same name.
Written in memory of a friend and admirer and premiered by Eugène Ysaÿe and Joseph Hollman at a time when his work had achieved great acclaim, La muse et le poète is a magnificent example of Camille Saint-Saëns’ polished lyrical style, giving soloists broad freedom of expression.
Few piano concertos written during the last one hundred years have such symbolic connotations as Piano Concerto for Left Hand in D major, one of Ravel’s most well-rounded works, composed for pianist Paul Wittgenstein, who had lost his right hand during the First World War.
29
Jan
2023
WORKSHOP: SONETS DE JOGUINA
ESPAI 5
Sunday, 29/01/2023 11:00
Sunday, 29/01/2023 11:00
WORKSHOP: SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 29/01/2023 11:00
At this workshop, music from the concert "Sonets de joguina" (Toy Sounds) will be worked on, and materials will be handed out with information about the concert, a summary of the workshop and suggestions for ways of continuing to enjoy music together at home.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
29
Jan
2023
PICA-SO
SALA 2 - ORIOL MARTORELL
Sunday, 29/01/2023 12:00
Sunday, 29/01/2023 12:00
PICA-SO
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 29/01/2023 12:00
Come to the L’Auditori and discover the musical world of one of the greatest painters of the 20th century. Pablo Picasso brings us closer to flamenco, the music of modernist Barcelona, the Russian ballets and even the couplet and the French chanson.
29
Jan
2023
WORKSHOP: SONETS DE JOGUINA
ESPAI 5
Sunday, 29/01/2023 12:15
Sunday, 29/01/2023 12:15
WORKSHOP: SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 29/01/2023 12:15
At this workshop, music from the concert "Sonets de joguina" (Toy Sounds) will be worked on, and materials will be handed out with information about the concert, a summary of the workshop and suggestions for ways of continuing to enjoy music together at home.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
29
Jan
2023
CONSTANZA BRNCIC I ALFREDO COSTA MONTEIRO
SALA 3 - TETE MONTOLIU
Sunday, 29/01/2023 18:00
Sunday, 29/01/2023 18:00
CONSTANZA BRNCIC I ALFREDO COSTA MONTEIRO
DEATH OR RETURN (I)
SALA 3 - TETE MONTOLIU
Sunday, 29/01/2023 18:00
3
Feb
2023
TXAIKOVSKI 5
SALA 1 - PAU CASALS
Friday, 3/02/2023 19:00
Friday, 3/02/2023 19:00
TXAIKOVSKI 5
Cristina Gómez Godoy i Rebecca Tong
SALA 1 - PAU CASALS
Friday, 3/02/2023 19:00
An apotheosis of dance that exceeds all decreed limits.
A marvellous display of deep melodic sentiment, masterly command of orchestral colour, and an apotheosis of dance that exceeds all decreed limits: this is Symphony No. 5 by Pyotr Ilyich Tchaikovsky. This work, which followed one of his creative crises, marked a highpoint in the composer’s mature period, with a shift toward a more subtle, precise style of composition. A staple in orchestral repertoires and a work considered to be one of his most famous, there is never a lull in the music: only the waltz dares to interrupt the discourse in the third movement, as if an innocent party were being held in the midst of a war that breaks out in the final presto.
Richard Strauss was going through difficult times when he composed his Oboe Concerto, a major work for oboe and a ray of light in the darkness. Despite his repudiation by the Third Reich and the destruction of places like the Munich National Theatre, which he witnessed, the composer managed to create a gem in his late period, seeking beauty behind the ruins. One figure who played a role in it was John de Lancie: an oboist and one of the US soldiers who visited his home at the end of the Second World War, as the note on the score explains: “Oboe Concerto inspired by an American soldier…”.
A marvellous display of deep melodic sentiment, masterly command of orchestral colour, and an apotheosis of dance that exceeds all decreed limits: this is Symphony No. 5 by Pyotr Ilyich Tchaikovsky. This work, which followed one of his creative crises, marked a highpoint in the composer’s mature period, with a shift toward a more subtle, precise style of composition. A staple in orchestral repertoires and a work considered to be one of his most famous, there is never a lull in the music: only the waltz dares to interrupt the discourse in the third movement, as if an innocent party were being held in the midst of a war that breaks out in the final presto.
Richard Strauss was going through difficult times when he composed his Oboe Concerto, a major work for oboe and a ray of light in the darkness. Despite his repudiation by the Third Reich and the destruction of places like the Munich National Theatre, which he witnessed, the composer managed to create a gem in his late period, seeking beauty behind the ruins. One figure who played a role in it was John de Lancie: an oboist and one of the US soldiers who visited his home at the end of the Second World War, as the note on the score explains: “Oboe Concerto inspired by an American soldier…”.
3
Feb
2023
JAKOB BRO, ARVE HENRIKSEN, JORGE ROSSY
SALA 3 - TETE MONTOLIU
Friday, 3/02/2023 20:00
Friday, 3/02/2023 20:00
JAKOB BRO, ARVE HENRIKSEN, JORGE ROSSY
UMA ELMO
SALA 3 - TETE MONTOLIU
Friday, 3/02/2023 20:00
Oneiric music against the speed of contemporary life.
Danish guitarist Jakob Bro had the good fortune to play in bands with American drummer Paul Motian and Polish trumpeter Tomasz Stańko, two brilliant jazz masters who are no longer with us. It is no surprise, then, that the poetry that characterised their work also flows from his playing. Stańko’s expressiveness and Motian’s subtlety filter, perhaps unconsciously, into the music of Uma Elmo, Bro’s project for the trio, which pits the craft of the storyteller against the speed of contemporary forgetfulness. Bro is joined by Norwegian trumpeter Arve Henriksen, whose flute-like sound and links to Zen Buddhism make him one of today’s most original jazz players, and by Barcelona drummer Jorge Rossy. Behind the oneiric universe, the dense fabric of Bro’s notes and Henriksen’s whispered melodies, lies an all-encompassing music drawn northward by life.
Danish guitarist Jakob Bro had the good fortune to play in bands with American drummer Paul Motian and Polish trumpeter Tomasz Stańko, two brilliant jazz masters who are no longer with us. It is no surprise, then, that the poetry that characterised their work also flows from his playing. Stańko’s expressiveness and Motian’s subtlety filter, perhaps unconsciously, into the music of Uma Elmo, Bro’s project for the trio, which pits the craft of the storyteller against the speed of contemporary forgetfulness. Bro is joined by Norwegian trumpeter Arve Henriksen, whose flute-like sound and links to Zen Buddhism make him one of today’s most original jazz players, and by Barcelona drummer Jorge Rossy. Behind the oneiric universe, the dense fabric of Bro’s notes and Henriksen’s whispered melodies, lies an all-encompassing music drawn northward by life.
4
Feb
2023
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 4/02/2023 16:00
Saturday, 4/02/2023 16:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 4/02/2023 16:00
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
4
Feb
2023
TXAIKOVSKI 5
SALA 1 - PAU CASALS
Saturday, 4/02/2023 19:00
Saturday, 4/02/2023 19:00
TXAIKOVSKI 5
Cristina Gómez Godoy i Rebecca Tong
SALA 1 - PAU CASALS
Saturday, 4/02/2023 19:00
An apotheosis of dance that exceeds all decreed limits.
A marvellous display of deep melodic sentiment, masterly command of orchestral colour, and an apotheosis of dance that exceeds all decreed limits: this is Symphony No. 5 by Pyotr Ilyich Tchaikovsky. This work, which followed one of his creative crises, marked a highpoint in the composer’s mature period, with a shift toward a more subtle, precise style of composition. A staple in orchestral repertoires and a work considered to be one of his most famous, there is never a lull in the music: only the waltz dares to interrupt the discourse in the third movement, as if an innocent party were being held in the midst of a war that breaks out in the final presto.
Richard Strauss was going through difficult times when he composed his Oboe Concerto, a major work for oboe and a ray of light in the darkness. Despite his repudiation by the Third Reich and the destruction of places like the Munich National Theatre, which he witnessed, the composer managed to create a gem in his late period, seeking beauty behind the ruins. One figure who played a role in it was John de Lancie: an oboist and one of the US soldiers who visited his home at the end of the Second World War, as the note on the score explains: “Oboe Concerto inspired by an American soldier…”.
A marvellous display of deep melodic sentiment, masterly command of orchestral colour, and an apotheosis of dance that exceeds all decreed limits: this is Symphony No. 5 by Pyotr Ilyich Tchaikovsky. This work, which followed one of his creative crises, marked a highpoint in the composer’s mature period, with a shift toward a more subtle, precise style of composition. A staple in orchestral repertoires and a work considered to be one of his most famous, there is never a lull in the music: only the waltz dares to interrupt the discourse in the third movement, as if an innocent party were being held in the midst of a war that breaks out in the final presto.
Richard Strauss was going through difficult times when he composed his Oboe Concerto, a major work for oboe and a ray of light in the darkness. Despite his repudiation by the Third Reich and the destruction of places like the Munich National Theatre, which he witnessed, the composer managed to create a gem in his late period, seeking beauty behind the ruins. One figure who played a role in it was John de Lancie: an oboist and one of the US soldiers who visited his home at the end of the Second World War, as the note on the score explains: “Oboe Concerto inspired by an American soldier…”.
5
Feb
2023
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 10:00
Sunday, 5/02/2023 10:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 10:00
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
5
Feb
2023
WORKSHOP: SONETS DE JOGUINA
ESPAI 5
Sunday, 5/02/2023 11:00
Sunday, 5/02/2023 11:00
WORKSHOP: SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 5/02/2023 11:00
At this workshop, music from the concert "Sonets de joguina" (Toy Sounds) will be worked on, and materials will be handed out with information about the concert, a summary of the workshop and suggestions for ways of continuing to enjoy music together at home.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
5
Feb
2023
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 11:15
Sunday, 5/02/2023 11:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 11:15
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
5
Feb
2023
WORKSHOP: SONETS DE JOGUINA
ESPAI 5
Sunday, 5/02/2023 12:15
Sunday, 5/02/2023 12:15
WORKSHOP: SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 5/02/2023 12:15
At this workshop, music from the concert "Sonets de joguina" (Toy Sounds) will be worked on, and materials will be handed out with information about the concert, a summary of the workshop and suggestions for ways of continuing to enjoy music together at home.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 18/02 at 5 pm and 19/02 at 12 am.
5
Feb
2023
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 12:30
Sunday, 5/02/2023 12:30
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 5/02/2023 12:30
A musical journey to discover a world full of sensations, sounds and melodies that will be stored in your child’s auditory and sensory memory. Because we want their first concert at L’Auditori to be a unique and unforgettable experience!
Babies deserve a ticket too.
Babies deserve a ticket too.
5
Feb
2023
LE TOMBEAU DE COUPERIN
SALA 1 - PAU CASALS
Sunday, 5/02/2023 18:00
Sunday, 5/02/2023 18:00
LE TOMBEAU DE COUPERIN
Carlos Ramón
SALA 1 - PAU CASALS
Sunday, 5/02/2023 18:00
Memorialising the dead is part of all cultures and this social practice is often given expression in art. In this sense this concert is pure emotion, with works in the programme dedicated to people who were loved or admired. Ravel, for example, dedicated Le tombeau de Couperin to the friends he had lost during the First World War, an original work for piano that we shall hear in an arrangement by Carlos Ramón. Postcard, by Ticheli, is dedicated to the mother of musician and conductor H. Robert Reynolds, and Kaddish, by William F. Macbeth, is a musical work based on a Jewish prayer associated with the ritual of mourning. Martin Ellerby closes the concert on a slightly different note. Each movement of Paris Sketches is dedicated to a composer, a musical tribute to Ravel, Stravinsky and Prokófiev, Satie and Berlioz against such iconic backdrops as the Latin Quarter, Pigalle, the Père Lachaise Cemetery and Les Halles.
9
Feb
2023
JOVE CAPELLA REIAL DE CATALUNYA
ESCENARI SALA PAU CASALS
Thursday, 9/02/2023 19:00
Thursday, 9/02/2023 19:00
JOVE CAPELLA REIAL DE CATALUNYA
FESTIVAL EMERGENTS
ESCENARI SALA PAU CASALS
Thursday, 9/02/2023 19:00
9
Feb
2023
ANNA COLOM GRUP
SALA 3 - TETE MONTOLIU
Thursday, 9/02/2023 21:00
Thursday, 9/02/2023 21:00
ANNA COLOM GRUP
FESTIVAL EMERGENTS DE BARCELONA
SALA 3 - TETE MONTOLIU
Thursday, 9/02/2023 21:00
Anna Colom seeks the musical essence of different cultures to blend with flamenco.
Anna Colom is passion and energy, she is tradition and attentiveness, she is rigour and clarity. During Rosalia’s tour of El mal querer, Colom was one of her so-called "eight roses", the group of singers and dancers who accompanied her on stage. Last season she presented Cayana, a flamenco project that blends together the folk roots of popular music from different countries and cultures, including her own work and traditional versions. This evocative name – Cayana – means “melting pot”, and just as this vessel serves to mix together materials at very high temperatures, so the performers also fuse together the musical essence of all these different countries and cultures to give a voice to universal truths that have resonated with us for many centuries.
Trained in flamenco singing at ESMUC, she also studied at the Cristina Heeren Foundation of Flamenco Art in Seville[M1] and has accompanied musicians such as maestro Juan Gómez “Chicuelo”. She has also participated in various artistic projects with Pep Tossar, LaboratoriA and Joncol4.
Anna Colom is passion and energy, she is tradition and attentiveness, she is rigour and clarity. During Rosalia’s tour of El mal querer, Colom was one of her so-called "eight roses", the group of singers and dancers who accompanied her on stage. Last season she presented Cayana, a flamenco project that blends together the folk roots of popular music from different countries and cultures, including her own work and traditional versions. This evocative name – Cayana – means “melting pot”, and just as this vessel serves to mix together materials at very high temperatures, so the performers also fuse together the musical essence of all these different countries and cultures to give a voice to universal truths that have resonated with us for many centuries.
Trained in flamenco singing at ESMUC, she also studied at the Cristina Heeren Foundation of Flamenco Art in Seville[M1] and has accompanied musicians such as maestro Juan Gómez “Chicuelo”. She has also participated in various artistic projects with Pep Tossar, LaboratoriA and Joncol4.
10
Feb
2023
STRAVINSKY: L'OCELL DE FOC
SALA 1 - PAU CASALS
Friday, 10/02/2023 19:00
Friday, 10/02/2023 19:00
STRAVINSKY: L'OCELL DE FOC
FESTIVAL EMERGENTS DE BARCELONA
SALA 1 - PAU CASALS
Friday, 10/02/2023 19:00
All the dynamism and expressive ingenuity of Stravinsky’s first success.
Juan Eduardo Cirlot described L’oiseau de feu (The Firebird) as having an underlying “fiendish energy”. One of Igor Stravinsky’s best-known ballets and his first success, it was the outcome of a collaborative initiative with Sergei Diaghilev. A prime example of his primitivist stage, The Firebird is based on a popular Russian legend that symbolises the fight between good and evil, and it is a work that the composer returned to time and time again. The most famous version of this suite for orchestra maintains all its dynamism and expressive ingenuity.
Le chant du rossignol (The Song of a Nightingale) is an orchestral version of a previous work: the opera Le Rossignol (The Nightingale), completed in Paris after the commotion caused by the premiere of Le Sacre du printemps (The Rite of Spring). Its music is steeped in irony and it reveals Stravinsky’s talent for using just a few elements to build a whole universe.
With this Rhapsody, Sergei Rachmaninoff managed to create music with a hypnotic, dramatic quality that requires high technical skill. Conceived as variations on a well-known theme from the last of Niccolò Paganini’s Caprices, it is one of the major works from the composer’s late stage.
Few composers from the last century display such talented skills as Paul Hindemith. His viola concerto, Der Schwanendreher (The Swan Turner) exemplifies his masterly skills, applied to an instrument that he knew well and for which he wrote numerous works.
The young Hans Abrahamsen’s distinctive personality shines out in Nacht und Trompeten (Night and Trumpets) at a point at which the composer was engaged in a quest. A work dedicated to Hans Werner Henze, who premiered it, Nacht und Trompeten has forged an important reputation in the world of contemporary music.
Juan Eduardo Cirlot described L’oiseau de feu (The Firebird) as having an underlying “fiendish energy”. One of Igor Stravinsky’s best-known ballets and his first success, it was the outcome of a collaborative initiative with Sergei Diaghilev. A prime example of his primitivist stage, The Firebird is based on a popular Russian legend that symbolises the fight between good and evil, and it is a work that the composer returned to time and time again. The most famous version of this suite for orchestra maintains all its dynamism and expressive ingenuity.
Le chant du rossignol (The Song of a Nightingale) is an orchestral version of a previous work: the opera Le Rossignol (The Nightingale), completed in Paris after the commotion caused by the premiere of Le Sacre du printemps (The Rite of Spring). Its music is steeped in irony and it reveals Stravinsky’s talent for using just a few elements to build a whole universe.
With this Rhapsody, Sergei Rachmaninoff managed to create music with a hypnotic, dramatic quality that requires high technical skill. Conceived as variations on a well-known theme from the last of Niccolò Paganini’s Caprices, it is one of the major works from the composer’s late stage.
Few composers from the last century display such talented skills as Paul Hindemith. His viola concerto, Der Schwanendreher (The Swan Turner) exemplifies his masterly skills, applied to an instrument that he knew well and for which he wrote numerous works.
The young Hans Abrahamsen’s distinctive personality shines out in Nacht und Trompeten (Night and Trumpets) at a point at which the composer was engaged in a quest. A work dedicated to Hans Werner Henze, who premiered it, Nacht und Trompeten has forged an important reputation in the world of contemporary music.
10
Feb
2023
ALBA MORENA
SALA 3 - TETE MONTOLIU
Friday, 10/02/2023 21:00
Friday, 10/02/2023 21:00
ALBA MORENA
FESTIVAL EMERGENTS DE BARCELONA
SALA 3 - TETE MONTOLIU
Friday, 10/02/2023 21:00
With classical music as a foundation and jazz as support, Alba Morena opens the door to nostalgia.
In her first album, Las dos edades, Alba Morena talked about the transition from childhood to adulthood. The album addressed issues that are often taboo such as suicide, mourning and toxic love, which all appeared with uncompromising conviction in both her own original songs and in versions she performed by artists who had made an impression on her. That was almost two years ago, but the essence remains the same: looking back on the past to face the future with fortitude.
With classical music as a foundation and experimentation with electronic music supported by genres from Mediterranean countries and jazz, Morena’s performance has an emotional intensity to it, opening the door to nostalgia and delivering the audience an unforgettable experience.
Born in Salou, Morena graduated as a professional violinist and studied lyrical singing for five years at the Conservatory of Vila-seca. Later, she studied jazz singing at the Taller de Músics and worked with music artists such as Perico Sambeat and Cora Novoa.
In her first album, Las dos edades, Alba Morena talked about the transition from childhood to adulthood. The album addressed issues that are often taboo such as suicide, mourning and toxic love, which all appeared with uncompromising conviction in both her own original songs and in versions she performed by artists who had made an impression on her. That was almost two years ago, but the essence remains the same: looking back on the past to face the future with fortitude.
With classical music as a foundation and experimentation with electronic music supported by genres from Mediterranean countries and jazz, Morena’s performance has an emotional intensity to it, opening the door to nostalgia and delivering the audience an unforgettable experience.
Born in Salou, Morena graduated as a professional violinist and studied lyrical singing for five years at the Conservatory of Vila-seca. Later, she studied jazz singing at the Taller de Músics and worked with music artists such as Perico Sambeat and Cora Novoa.
11
Feb
2023
STRAVINSKY: L'OCELL DE FOC
SALA 1 - PAU CASALS
Saturday, 11/02/2023 19:00
Saturday, 11/02/2023 19:00
STRAVINSKY: L'OCELL DE FOC
FESTIVAL EMERGENTS DE BARCELONA
SALA 1 - PAU CASALS
Saturday, 11/02/2023 19:00
All the dynamism and expressive ingenuity of Stravinsky’s first success.
Juan Eduardo Cirlot described L’oiseau de feu (The Firebird) as having an underlying “fiendish energy”. One of Igor Stravinsky’s best-known ballets and his first success, it was the outcome of a collaborative initiative with Sergei Diaghilev. A prime example of his primitivist stage, The Firebird is based on a popular Russian legend that symbolises the fight between good and evil, and it is a work that the composer returned to time and time again. The most famous version of this suite for orchestra maintains all its dynamism and expressive ingenuity.
Le chant du rossignol (The Song of a Nightingale) is an orchestral version of a previous work: the opera Le Rossignol (The Nightingale), completed in Paris after the commotion caused by the premiere of Le Sacre du printemps (The Rite of Spring). Its music is steeped in irony and it reveals Stravinsky’s talent for using just a few elements to build a whole universe.
With this Rhapsody, Sergei Rachmaninoff managed to create music with a hypnotic, dramatic quality that requires high technical skill. Conceived as variations on a well-known theme from the last of Niccolò Paganini’s Caprices, it is one of the major works from the composer’s late stage.
Few composers from the last century display such talented skills as Paul Hindemith. His viola concerto, Der Schwanendreher (The Swan Turner) exemplifies his masterly skills, applied to an instrument that he knew well and for which he wrote numerous works.
The young Hans Abrahamsen’s distinctive personality shines out in Nacht und Trompeten (Night and Trumpets) at a point at which the composer was engaged in a quest. A work dedicated to Hans Werner Henze, who premiered it, Nacht und Trompeten has forged an important reputation in the world of contemporary music.
Juan Eduardo Cirlot described L’oiseau de feu (The Firebird) as having an underlying “fiendish energy”. One of Igor Stravinsky’s best-known ballets and his first success, it was the outcome of a collaborative initiative with Sergei Diaghilev. A prime example of his primitivist stage, The Firebird is based on a popular Russian legend that symbolises the fight between good and evil, and it is a work that the composer returned to time and time again. The most famous version of this suite for orchestra maintains all its dynamism and expressive ingenuity.
Le chant du rossignol (The Song of a Nightingale) is an orchestral version of a previous work: the opera Le Rossignol (The Nightingale), completed in Paris after the commotion caused by the premiere of Le Sacre du printemps (The Rite of Spring). Its music is steeped in irony and it reveals Stravinsky’s talent for using just a few elements to build a whole universe.
With this Rhapsody, Sergei Rachmaninoff managed to create music with a hypnotic, dramatic quality that requires high technical skill. Conceived as variations on a well-known theme from the last of Niccolò Paganini’s Caprices, it is one of the major works from the composer’s late stage.
Few composers from the last century display such talented skills as Paul Hindemith. His viola concerto, Der Schwanendreher (The Swan Turner) exemplifies his masterly skills, applied to an instrument that he knew well and for which he wrote numerous works.
The young Hans Abrahamsen’s distinctive personality shines out in Nacht und Trompeten (Night and Trumpets) at a point at which the composer was engaged in a quest. A work dedicated to Hans Werner Henze, who premiered it, Nacht und Trompeten has forged an important reputation in the world of contemporary music.
11
Feb
2023
LICEU JAZZ GRUP
SALA 3 - TETE MONTOLIU
Saturday, 11/02/2023 21:00
Saturday, 11/02/2023 21:00
LICEU JAZZ GRUP
FESTIVAL EMERGENTS DE BARCELONA
SALA 3 - TETE MONTOLIU
Saturday, 11/02/2023 21:00
Six students who have a lot of music to share.
Jazz pulsates with improvisation. It is created from a mastery that can only come with practice, trial and error which, in turn, opens up new paths to explore and so it evolves. For this reason, the Liceu Jazz Group, consisting of the most outstanding jazz students from the Conservatori Superior del Liceu, was formed. Its aim is to bring the professional world closer to the world of academia and help students develop their careers in professional settings. This performance, therefore, is a recognition of the work done in the classroom: a reward given to six students who have a lot of music to share.
For years now, this ensemble which, by its nature, is always changing yet maintaining its characteristic exacting rigour, has been taking part in the Festival Emergents. This space is shared with other young performers that also have the drive and desire to introduce themselves to a new audience. The young performers demonstrate their intelligence and maturity through the quality of their performance.
Jazz pulsates with improvisation. It is created from a mastery that can only come with practice, trial and error which, in turn, opens up new paths to explore and so it evolves. For this reason, the Liceu Jazz Group, consisting of the most outstanding jazz students from the Conservatori Superior del Liceu, was formed. Its aim is to bring the professional world closer to the world of academia and help students develop their careers in professional settings. This performance, therefore, is a recognition of the work done in the classroom: a reward given to six students who have a lot of music to share.
For years now, this ensemble which, by its nature, is always changing yet maintaining its characteristic exacting rigour, has been taking part in the Festival Emergents. This space is shared with other young performers that also have the drive and desire to introduce themselves to a new audience. The young performers demonstrate their intelligence and maturity through the quality of their performance.
WORKSHOP: ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 12/02/2023 11:00
In this workshop, you will work with the music from the "Ullsclucs" concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
WORKSHOP: ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 12/02/2023 12:15
In this workshop, you will work with the music from the "Ullsclucs" concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
12
Feb
2023
DES DEL SILENCI
SALA 1 - PAU CASALS
Sunday, 12/02/2023 18:00
Sunday, 12/02/2023 18:00
DES DEL SILENCI
Pascual-Vilaplana
SALA 1 - PAU CASALS
Sunday, 12/02/2023 18:00
This is a concert of vital musical contrasts. The young Austrian trumpeter Selina Ott, who will be playing Alexander Arutunian’s Trumpet Concerto, is one of the leading figures in the Festival Emergents and one of the attractions of a programme that also features students from the Escola Superior de Música de Catalunya. The programme also includes Symphony no. 3 by Valencian composer Andrés Valero-Castells, which invites us to reflect on Alzheimer’s disease: a “silent epidemic” that undermines sufferers’ abilities. This will be the first performance of the version for symphonic bands and is dedicated to the composer’s mother and all other patients and carers, a moving artistic reference to a disease we are only too familiar with today. The concert begins with another type of silence, the silence at the bottom of the sea. This is the world premiere of a piece by Salvador Brotons dedicated to the Mar d’Amunt, a small area in the Mediterranean of outstanding underwater beauty.
18
Feb
2023
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Saturday, 18/02/2023 12:00
Saturday, 18/02/2023 12:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 18/02/2023 12:00
Sonets de joguina (Toy Sounds) is a show bursting with magic and creativity in which the imagination flies to an airport full of surprises and dream-like characters. On this journey you’ll be accompanied at all times by the sounds of clarinets, flutes, guitars, a sax, an accordion, and a melodica...and a whole host of different keyboards, percussion instruments, objects and toys that make sounds, to transport you to a musical universe full of surprises and sensations.
18
Feb
2023
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Saturday, 18/02/2023 17:00
Saturday, 18/02/2023 17:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 18/02/2023 17:00
Sonets de joguina (Toy Sounds) is a show bursting with magic and creativity in which the imagination flies to an airport full of surprises and dream-like characters. On this journey you’ll be accompanied at all times by the sounds of clarinets, flutes, guitars, a sax, an accordion, and a melodica...and a whole host of different keyboards, percussion instruments, objects and toys that make sounds, to transport you to a musical universe full of surprises and sensations.
19
Feb
2023
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Sunday, 19/02/2023 10:30
Sunday, 19/02/2023 10:30
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 19/02/2023 10:30
Sonets de joguina (Toy Sounds) is a show bursting with magic and creativity in which the imagination flies to an airport full of surprises and dream-like characters. On this journey you’ll be accompanied at all times by the sounds of clarinets, flutes, guitars, a sax, an accordion, and a melodica...and a whole host of different keyboards, percussion instruments, objects and toys that make sounds, to transport you to a musical universe full of surprises and sensations.
WORKSHOP: ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 19/02/2023 11:00
In this workshop, you will work with the music from the "Ullsclucs" concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
19
Feb
2023
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Sunday, 19/02/2023 12:00
Sunday, 19/02/2023 12:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 19/02/2023 12:00
Sonets de joguina (Toy Sounds) is a show bursting with magic and creativity in which the imagination flies to an airport full of surprises and dream-like characters. On this journey you’ll be accompanied at all times by the sounds of clarinets, flutes, guitars, a sax, an accordion, and a melodica...and a whole host of different keyboards, percussion instruments, objects and toys that make sounds, to transport you to a musical universe full of surprises and sensations.
WORKSHOP: ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 19/02/2023 12:15
In this workshop, you will work with the music from the "Ullsclucs" concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 4/03 at 5 pm and 5/3 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
19
Feb
2023
SOFIA GUBAIDULINA
SALA 2 - ORIOL MARTORELL
Sunday, 19/02/2023 19:00
Sunday, 19/02/2023 19:00
SOFIA GUBAIDULINA
RICARDO DESCALZO & BARCELONA MODERN ENSEMBLE
SALA 2 - ORIOL MARTORELL
Sunday, 19/02/2023 19:00
A tribute to the great Russian composer Sofia Gubaidulina.
Musical Toys is a set of fourteen pieces that conjure up Sofia Gubaidulina’s childhood musical dream: to have been able to play these pieces as a young girl, as her biographer, Michael Kurtz, explains. We move from a kind of merry-go-round (the second piece) to a storm (the fourth) and to the sounds of a forest (with a trumpet call in the third, a woodpecker in the fifth and a series of animals in the last). For this purpose, she combines syncopated rhythms typically found in jazz with textural interplay, such as clusters or extreme contrasts between fragility and density. In Introitus for piano and chamber orchestra, Gubaidulina evokes the solemnity of the priests’ entry at mass, drawing parallels with the audience’s immersion in sounds used to convey four religious states. This work by the great Russian composer takes on the aura of a religious service, created purely and simply with instrumental means.
Musical Toys is a set of fourteen pieces that conjure up Sofia Gubaidulina’s childhood musical dream: to have been able to play these pieces as a young girl, as her biographer, Michael Kurtz, explains. We move from a kind of merry-go-round (the second piece) to a storm (the fourth) and to the sounds of a forest (with a trumpet call in the third, a woodpecker in the fifth and a series of animals in the last). For this purpose, she combines syncopated rhythms typically found in jazz with textural interplay, such as clusters or extreme contrasts between fragility and density. In Introitus for piano and chamber orchestra, Gubaidulina evokes the solemnity of the priests’ entry at mass, drawing parallels with the audience’s immersion in sounds used to convey four religious states. This work by the great Russian composer takes on the aura of a religious service, created purely and simply with instrumental means.
24
Feb
2023
b1n0 + Convidats
SALA 2 - ORIOL MARTORELL
Friday, 24/02/2023 20:00
Friday, 24/02/2023 20:00
b1n0 + Convidats
SALA 2 - ORIOL MARTORELL
Friday, 24/02/2023 20:00
25
Feb
2023
STRAUSS: AIXÍ PARLÀ ZARATHUSTRA
SALA 1 - PAU CASALS
Saturday, 25/02/2023 19:00
Saturday, 25/02/2023 19:00
STRAUSS: AIXÍ PARLÀ ZARATHUSTRA
Heidi Melton i Vasily Petrenko
SALA 1 - PAU CASALS
Saturday, 25/02/2023 19:00
From spring to death: a testimony to the music of a period.
Richard Strauss was the great master of symphonic poems. Together with Don Quixote, Death and Transfiguration and his Domestic Symphony, Thus Spake Zarathustra is one of his most well-rounded works. Premiered in Frankfurt and conducted by Strauss himself, in its music, the composer not only conveys his reading of Friedrich Nietzsche–as Mahler also did at the time by setting part of the text to music–, but also his understanding of his era and that of the new century: Nietzsche parodied the New Testament, proclaiming that the late 19th century would herald a new era that would lead to a change in relations between good and evil.
All the humour, polished use of timbre, and skill of Strauss’ compositions are embodied in his Divertimento, a dance suite inspired by 18th century France leading to a surprising Suite From Keyboard Pieces by François Couperin.
The Bavarian composer’s last songs can be considered to be some of the masterpieces of the German lied. They testify to a particular era and to a highpoint in the genre. Written for soprano and orchestra and based on poems by Joseph von Eichendorff and Hermann Hesse, they describe a journey from spring to death.
Richard Strauss was the great master of symphonic poems. Together with Don Quixote, Death and Transfiguration and his Domestic Symphony, Thus Spake Zarathustra is one of his most well-rounded works. Premiered in Frankfurt and conducted by Strauss himself, in its music, the composer not only conveys his reading of Friedrich Nietzsche–as Mahler also did at the time by setting part of the text to music–, but also his understanding of his era and that of the new century: Nietzsche parodied the New Testament, proclaiming that the late 19th century would herald a new era that would lead to a change in relations between good and evil.
All the humour, polished use of timbre, and skill of Strauss’ compositions are embodied in his Divertimento, a dance suite inspired by 18th century France leading to a surprising Suite From Keyboard Pieces by François Couperin.
The Bavarian composer’s last songs can be considered to be some of the masterpieces of the German lied. They testify to a particular era and to a highpoint in the genre. Written for soprano and orchestra and based on poems by Joseph von Eichendorff and Hermann Hesse, they describe a journey from spring to death.
26
Feb
2023
STRAUSS: AIXÍ PARLÀ ZARATHUSTRA
SALA 1 - PAU CASALS
Sunday, 26/02/2023 11:00
Sunday, 26/02/2023 11:00
STRAUSS: AIXÍ PARLÀ ZARATHUSTRA
Heidi Melton i Vasily Petrenko
SALA 1 - PAU CASALS
Sunday, 26/02/2023 11:00
From spring to death: a testimony to the music of a period.
Richard Strauss was the great master of symphonic poems. Together with Don Quixote, Death and Transfiguration and his Domestic Symphony, Thus Spake Zarathustra is one of his most well-rounded works. Premiered in Frankfurt and conducted by Strauss himself, in its music, the composer not only conveys his reading of Friedrich Nietzsche–as Mahler also did at the time by setting part of the text to music–, but also his understanding of his era and that of the new century: Nietzsche parodied the New Testament, proclaiming that the late 19th century would herald a new era that would lead to a change in relations between good and evil.
All the humour, polished use of timbre, and skill of Strauss’ compositions are embodied in his Divertimento, a dance suite inspired by 18th century France leading to a surprising Suite From Keyboard Pieces by François Couperin.
The Bavarian composer’s last songs can be considered to be some of the masterpieces of the German lied. They testify to a particular era and to a highpoint in the genre. Written for soprano and orchestra and based on poems by Joseph von Eichendorff and Hermann Hesse, they describe a journey from spring to death.
Richard Strauss was the great master of symphonic poems. Together with Don Quixote, Death and Transfiguration and his Domestic Symphony, Thus Spake Zarathustra is one of his most well-rounded works. Premiered in Frankfurt and conducted by Strauss himself, in its music, the composer not only conveys his reading of Friedrich Nietzsche–as Mahler also did at the time by setting part of the text to music–, but also his understanding of his era and that of the new century: Nietzsche parodied the New Testament, proclaiming that the late 19th century would herald a new era that would lead to a change in relations between good and evil.
All the humour, polished use of timbre, and skill of Strauss’ compositions are embodied in his Divertimento, a dance suite inspired by 18th century France leading to a surprising Suite From Keyboard Pieces by François Couperin.
The Bavarian composer’s last songs can be considered to be some of the masterpieces of the German lied. They testify to a particular era and to a highpoint in the genre. Written for soprano and orchestra and based on poems by Joseph von Eichendorff and Hermann Hesse, they describe a journey from spring to death.
26
Feb
2023
MITES I SONS
SALA 1 - PAU CASALS
Sunday, 26/02/2023 18:00
Sunday, 26/02/2023 18:00
MITES I SONS
David Rejano i Beatriz Fernández
SALA 1 - PAU CASALS
Sunday, 26/02/2023 18:00
The Los Angeles Philharmonic Orchestra’s principal trombonist plays Te Bon e Paiporta by Ferrer Ferran, giving us the opportunity to enjoy an intense work performed by a first-class player. Ferran transports us to Valencia’s Horta Sud region, where he introduces us to Sant Jordi, the former name of Paiporta, allows us to enjoy the delicate aroma of the orange trees, and invites us to the festivities in El Barranc, the most characteristic of the Valencian region. The concert begins with Danse satanique by French composer Kosmicki, a truly diabolical witches’ Sabbath, depicted in vibrant music which is technically very demanding.
Symphony no. 1 by Appermont, the Belgian composer to whom the Band is dedicating its portrait of an artist tribute this season, is inspired by the deeds of Gilgamesh, king of Uruk, based on the epic poem conserved on a Sumerian clay tablet. The main characters are two contradictory forces: Gilgamesh himself, who is seeking immortality, and his companion Enkidu, who represents the wilder side of humanity. An epic myth embodied in extraordinary music.
Symphony no. 1 by Appermont, the Belgian composer to whom the Band is dedicating its portrait of an artist tribute this season, is inspired by the deeds of Gilgamesh, king of Uruk, based on the epic poem conserved on a Sumerian clay tablet. The main characters are two contradictory forces: Gilgamesh himself, who is seeking immortality, and his companion Enkidu, who represents the wilder side of humanity. An epic myth embodied in extraordinary music.
28
Feb
2023
EMILY D'ANGELO
SALA 2 - ORIOL MARTORELL
Tuesday, 28/02/2023 19:00
Tuesday, 28/02/2023 19:00
EMILY D'ANGELO
E N AR GEI A
SALA 2 - ORIOL MARTORELL
Tuesday, 28/02/2023 19:00
A historical journey with a pure and creative approach that moves away from usual conventions.
Mezzo-soprano Emily d'Angelo presents her first solo album, e n ar gei a (Deutsche Grammophon, 2021), which brings together works by four female composers: Hildegard of Bingen, Missy Mazzoli, Sarah Kirkland Snider and Hildur Guðnadóttir. Instead of debuting with canonical arias that everyone is familiar with, d'Angelo opted to record an unusual and somewhat unknown repertoire. Over the course of twelve pieces, the mezzo-soprano traces a journey through musical history, from the twelfth century to the present day, with a pure and creative approach that moves away from usual conventions. The concept of the ancient Greek word enargeia – meaning the quality of something being extremely vivid, radiant or present - is the theme of the album, which addresses life, death and love with a captivating serenity. All in all, this is a debut that confirms that d'Angelo is one of the most promising singers on the international scene.
Mezzo-soprano Emily d'Angelo presents her first solo album, e n ar gei a (Deutsche Grammophon, 2021), which brings together works by four female composers: Hildegard of Bingen, Missy Mazzoli, Sarah Kirkland Snider and Hildur Guðnadóttir. Instead of debuting with canonical arias that everyone is familiar with, d'Angelo opted to record an unusual and somewhat unknown repertoire. Over the course of twelve pieces, the mezzo-soprano traces a journey through musical history, from the twelfth century to the present day, with a pure and creative approach that moves away from usual conventions. The concept of the ancient Greek word enargeia – meaning the quality of something being extremely vivid, radiant or present - is the theme of the album, which addresses life, death and love with a captivating serenity. All in all, this is a debut that confirms that d'Angelo is one of the most promising singers on the international scene.
2
Mar
2023
THOMAS STRØNEN + TIME IS A BLIND GUIDE
SALA 2 - ORIOL MARTORELL
Thursday, 2/03/2023 20:00
Thursday, 2/03/2023 20:00
THOMAS STRØNEN + TIME IS A BLIND GUIDE
FALL
SALA 2 - ORIOL MARTORELL
Thursday, 2/03/2023 20:00
Jazz? Chamber music? Strønen’s music is essentially beautiful.
Time is a blind guide, perhaps, but time will tell us if projects like this one by Norwegian drummer Thomas Strønen succeed in breaking through the boundaries that restrict some music and musicians to certain cycles and spaces. Time will tell, of course, but Time Is A Blind Guide can be performed by either string trio or by a conventional jazz trio. The latter opens the doors to the world of jazz, while the former (I’m not so sure about this) those of chamber music. In fact, I have my doubts about jazz too, as Strønen’s approach is unlike what many would understand as jazz. There is certainly improvisation. Indeed, Strønen proposes that the compositions should merely be guidelines and that the musicians should play “whatever seems right to them”. This clearly goes against the conventions of chamber music. The dilemma can be easily resolved: take your seat, open your ears wide and let yourself be carried away by this essentially beautiful music. And what is beauty? We’ll talk on the way out.
Time is a blind guide, perhaps, but time will tell us if projects like this one by Norwegian drummer Thomas Strønen succeed in breaking through the boundaries that restrict some music and musicians to certain cycles and spaces. Time will tell, of course, but Time Is A Blind Guide can be performed by either string trio or by a conventional jazz trio. The latter opens the doors to the world of jazz, while the former (I’m not so sure about this) those of chamber music. In fact, I have my doubts about jazz too, as Strønen’s approach is unlike what many would understand as jazz. There is certainly improvisation. Indeed, Strønen proposes that the compositions should merely be guidelines and that the musicians should play “whatever seems right to them”. This clearly goes against the conventions of chamber music. The dilemma can be easily resolved: take your seat, open your ears wide and let yourself be carried away by this essentially beautiful music. And what is beauty? We’ll talk on the way out.
4
Mar
2023
ULLSCLUCS
SALA 2 - ORIOL MARTORELL
Saturday, 4/03/2023 12:00
Saturday, 4/03/2023 12:00
ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 4/03/2023 12:00
Close your eyes and imagine a landscape that you can’t see, but can only hear. Are you in the countryside or the city? Is it summer, spring, winter, or autumn? Morning or evening? We’ll go on a walk with our ears wide open, to discover our natural and human environment through sounds and the music inspired by these sounds. Songs with Catalan roots, many of which have been reimagined for this occasion, given a contemporary twist and performed by five musicians who draw from both the traditional world and today’s musical trends. With staging by choreographer Sònia Gómez.
4
Mar
2023
ULLSCLUCS
SALA 2 - ORIOL MARTORELL
Saturday, 4/03/2023 17:00
Saturday, 4/03/2023 17:00
ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 4/03/2023 17:00
Close your eyes and imagine a landscape that you can’t see, but can only hear. Are you in the countryside or the city? Is it summer, spring, winter, or autumn? Morning or evening? We’ll go on a walk with our ears wide open, to discover our natural and human environment through sounds and the music inspired by these sounds. Songs with Catalan roots, many of which have been reimagined for this occasion, given a contemporary twist and performed by five musicians who draw from both the traditional world and today’s musical trends. With staging by choreographer Sònia Gómez.
GÒSPEL
Barcelona Gospel Messengers i Goizargi Gospel Choir
SALA 1 - PAU CASALS
Saturday, 4/03/2023 19:00
The energy, rhythm and voices of gospel music are contagious and full of lively magnetism. Concerts become an unforgettable collective experience in which performers and audience respond to the same beat. “It brings us closer to catharsis, taking the spirit to unexpected heights”, says José R. Pascual-Vilaplana. “It goes beyond what is strictly musical and touches the domain of human emotions,” comments Ramon Escalé.
Two of the best choirs from Euskadi and Catalonia join Symphonic Band to offer a top-class musical experience for the very first time. The programme includes traditional songs, such as Satan, We’re Gonna Tear Your Kingdom Down and Yes Lord, Yes by recording artist Shirley Caesar – winner of 12 Grammy Awards –, contemporary ballads and updated versions of classics of the genre, like Phoebe Knapp’s Blessed Assurance.
Two of the best choirs from Euskadi and Catalonia join Symphonic Band to offer a top-class musical experience for the very first time. The programme includes traditional songs, such as Satan, We’re Gonna Tear Your Kingdom Down and Yes Lord, Yes by recording artist Shirley Caesar – winner of 12 Grammy Awards –, contemporary ballads and updated versions of classics of the genre, like Phoebe Knapp’s Blessed Assurance.
5
Mar
2023
WORKSHOP: ELS COLORS DEL METALL
ESPAI 5
Sunday, 5/03/2023 11:00
Sunday, 5/03/2023 11:00
WORKSHOP: ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 5/03/2023 11:00
In this workshop, you will work with the music from the “The Colours of Brass” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
5
Mar
2023
ULLSCLUCS
SALA 2 - ORIOL MARTORELL
Sunday, 5/03/2023 12:00
Sunday, 5/03/2023 12:00
ULLSCLUCS
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 5/03/2023 12:00
Close your eyes and imagine a landscape that you can’t see, but can only hear. Are you in the countryside or the city? Is it summer, spring, winter, or autumn? Morning or evening? We’ll go on a walk with our ears wide open, to discover our natural and human environment through sounds and the music inspired by these sounds. Songs with Catalan roots, many of which have been reimagined for this occasion, given a contemporary twist and performed by five musicians who draw from both the traditional world and today’s musical trends. With staging by choreographer Sònia Gómez.
5
Mar
2023
WORKSHOP: ELS COLORS DEL METALL
ESPAI 5
Sunday, 5/03/2023 12:15
Sunday, 5/03/2023 12:15
WORKSHOP: ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 5/03/2023 12:15
In this workshop, you will work with the music from the “The Colours of Brass” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
BRAHMS 2
Nicolas Altstaedt i Marta Gardolinska
SALA 1 - PAU CASALS
Friday, 10/03/2023 19:00
The apotheosis of Romanticism and the triumph of our musical heritage.
Johannes Brahms’ Symphony No. 2, which dates back to the same creative period and shares the same tonality as his Violin Concerto, can be regarded as the apotheosis of musical Romanticism, enriched by a multitude of influences. From the moment it opens, a subtle atmosphere of melancholic joy, filled with chiaroscuros, is created through gentle dialogue between the horns and woodwind instruments, tempered by the strings. It is a superb compendium of the “plastic beauty” that Daniel Gregory Mason found in Brahms’ work.
Witold Lutosławski was one of the longest-standing representatives of Polish avant-garde musical composition. A great personality and a composer with a solid career, Lutoslawki’s highly memorable Cello Concerto–premiered by Mstislav Rostropovich and written during the composer’s mature stage after other important orchestral works, such as his Symphony No. 2–offers the keys to understanding the intricacies of music from the second half of the 20th century.
Felip Pedrell completed his symphonic poems after stays in Italy and France, before Richard Strauss managed to finish his. Together with Excelsior, written in the same year and recorded in 2001 by the OBC, I trionfi (Triumphs) represents one of his most productive periods. The manuscript of the score contains copied fragments of I trionfi, Petrarch’s allegorical poem that inspired the Tortoso-born composer in his work for orchestra: “What profit have ye from your blind pursuits? Ye all return to the great ancient mother: Even the memory of your names is lost”. This concert will recapture a piece of our musical heritage so that fame triumphs over death.
Johannes Brahms’ Symphony No. 2, which dates back to the same creative period and shares the same tonality as his Violin Concerto, can be regarded as the apotheosis of musical Romanticism, enriched by a multitude of influences. From the moment it opens, a subtle atmosphere of melancholic joy, filled with chiaroscuros, is created through gentle dialogue between the horns and woodwind instruments, tempered by the strings. It is a superb compendium of the “plastic beauty” that Daniel Gregory Mason found in Brahms’ work.
Witold Lutosławski was one of the longest-standing representatives of Polish avant-garde musical composition. A great personality and a composer with a solid career, Lutoslawki’s highly memorable Cello Concerto–premiered by Mstislav Rostropovich and written during the composer’s mature stage after other important orchestral works, such as his Symphony No. 2–offers the keys to understanding the intricacies of music from the second half of the 20th century.
Felip Pedrell completed his symphonic poems after stays in Italy and France, before Richard Strauss managed to finish his. Together with Excelsior, written in the same year and recorded in 2001 by the OBC, I trionfi (Triumphs) represents one of his most productive periods. The manuscript of the score contains copied fragments of I trionfi, Petrarch’s allegorical poem that inspired the Tortoso-born composer in his work for orchestra: “What profit have ye from your blind pursuits? Ye all return to the great ancient mother: Even the memory of your names is lost”. This concert will recapture a piece of our musical heritage so that fame triumphs over death.
11
Mar
2023
BRAHMS 2
SALA 1 - PAU CASALS
Saturday, 11/03/2023 19:00
Saturday, 11/03/2023 19:00
BRAHMS 2
Nicolas Altstaedt i Marta Gardolinska
SALA 1 - PAU CASALS
Saturday, 11/03/2023 19:00
The apotheosis of Romanticism and the triumph of our musical heritage.
Johannes Brahms’ Symphony No. 2, which dates back to the same creative period and shares the same tonality as his Violin Concerto, can be regarded as the apotheosis of musical Romanticism, enriched by a multitude of influences. From the moment it opens, a subtle atmosphere of melancholic joy, filled with chiaroscuros, is created through gentle dialogue between the horns and woodwind instruments, tempered by the strings. It is a superb compendium of the “plastic beauty” that Daniel Gregory Mason found in Brahms’ work.
Witold Lutosławski was one of the longest-standing representatives of Polish avant-garde musical composition. A great personality and a composer with a solid career, Lutoslawki’s highly memorable Cello Concerto–premiered by Mstislav Rostropovich and written during the composer’s mature stage after other important orchestral works, such as his Symphony No. 2–offers the keys to understanding the intricacies of music from the second half of the 20th century.
Felip Pedrell completed his symphonic poems after stays in Italy and France, before Richard Strauss managed to finish his. Together with Excelsior, written in the same year and recorded in 2001 by the OBC, I trionfi (Triumphs) represents one of his most productive periods. The manuscript of the score contains copied fragments of I trionfi, Petrarch’s allegorical poem that inspired the Tortoso-born composer in his work for orchestra: “What profit have ye from your blind pursuits? Ye all return to the great ancient mother: Even the memory of your names is lost”. This concert will recapture a piece of our musical heritage so that fame triumphs over death.
Johannes Brahms’ Symphony No. 2, which dates back to the same creative period and shares the same tonality as his Violin Concerto, can be regarded as the apotheosis of musical Romanticism, enriched by a multitude of influences. From the moment it opens, a subtle atmosphere of melancholic joy, filled with chiaroscuros, is created through gentle dialogue between the horns and woodwind instruments, tempered by the strings. It is a superb compendium of the “plastic beauty” that Daniel Gregory Mason found in Brahms’ work.
Witold Lutosławski was one of the longest-standing representatives of Polish avant-garde musical composition. A great personality and a composer with a solid career, Lutoslawki’s highly memorable Cello Concerto–premiered by Mstislav Rostropovich and written during the composer’s mature stage after other important orchestral works, such as his Symphony No. 2–offers the keys to understanding the intricacies of music from the second half of the 20th century.
Felip Pedrell completed his symphonic poems after stays in Italy and France, before Richard Strauss managed to finish his. Together with Excelsior, written in the same year and recorded in 2001 by the OBC, I trionfi (Triumphs) represents one of his most productive periods. The manuscript of the score contains copied fragments of I trionfi, Petrarch’s allegorical poem that inspired the Tortoso-born composer in his work for orchestra: “What profit have ye from your blind pursuits? Ye all return to the great ancient mother: Even the memory of your names is lost”. This concert will recapture a piece of our musical heritage so that fame triumphs over death.
11
Mar
2023
AURORA BAUZÀ I PERE JOU
SALA 3 - TETE MONTOLIU
Saturday, 11/03/2023 20:00
Saturday, 11/03/2023 20:00
AURORA BAUZÀ I PERE JOU
DEATH OR RETURN (II)
SALA 3 - TETE MONTOLIU
Saturday, 11/03/2023 20:00
12
Mar
2023
TALLER VINE A CANTAR... THE BEATLES
SALA 2 - ORIOL MARTORELL
Sunday, 12/03/2023 10:30
Sunday, 12/03/2023 10:30
TALLER VINE A CANTAR... THE BEATLES
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 12/03/2023 10:30
12
Mar
2023
WORKSHOP: ELS COLORS DEL METALL
ESPAI 5
Sunday, 12/03/2023 11:00
Sunday, 12/03/2023 11:00
WORKSHOP: ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 12/03/2023 11:00
In this workshop, you will work with the music from the “The Colours of Brass” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
12
Mar
2023
WORKSHOP: ELS COLORS DEL METALL
ESPAI 5
Sunday, 12/03/2023 12:15
Sunday, 12/03/2023 12:15
WORKSHOP: ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 12/03/2023 12:15
In this workshop, you will work with the music from the “The Colours of Brass” concert. Materials with information about the concert, a summary of the workshop and suggestions for continuing to enjoy music together at home will be provided.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
Attendees will have the opportunity to meet the musicians after the concerts scheduled for 14/05 at 5 pm and 15/05 at 12 am.
Those who have signed up for this activity will receive a dossier with the content of the show they will be working on in the workshop.
12
Mar
2023
CONCERT VINE A CANTAR... THE BEATLES
SALA 2 - ORIOL MARTORELL
Sunday, 12/03/2023 13:00
Sunday, 12/03/2023 13:00
CONCERT VINE A CANTAR... THE BEATLES
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 12/03/2023 13:00
12
Mar
2023
AURORA BAUZÀ I PERE JOU
SALA 3 - TETE MONTOLIU
Sunday, 12/03/2023 18:00
Sunday, 12/03/2023 18:00
AURORA BAUZÀ I PERE JOU
DEATH OR RETURN (II)
SALA 3 - TETE MONTOLIU
Sunday, 12/03/2023 18:00
13
Mar
2023
NICOLAS ALTSTAEDT
SALA 2 - ORIOL MARTORELL
Monday, 13/03/2023 19:00
Monday, 13/03/2023 19:00
NICOLAS ALTSTAEDT
CELLO SOLO
SALA 2 - ORIOL MARTORELL
Monday, 13/03/2023 19:00
Great works for cello solo in the hands of an unclassifiable virtuoso.
Henri Dutilleux created the first part of Trois strophes sur le nom de Sacher (Three Stanzas on the Name Sacher) after Rostropovich offered him a collective birthday present for director Paul Sacher, and later added two more pieces. The gift consisted of a set of variations based on Sacher's name, translated musically from Germanic notation, as Bach had done with his name in several works, such as the Cello Suite in C minor, BWV 1011. Bach's cello suites must be understood as a single discourse, which are developed with coherence. They are closely linked to Pau Casals, who rescued them from oblivion and turned them into emblematic pieces for cellists. Casals said that in all of Bach's cello suites, the prelude portrayed the general character of the work, and pointed out that "the beginning of the fifth suite, in C minor, is obscure, dramatic and threatening". The programme also includes Zoltán Kodály’s Sonata for Solo Cello, Op. 8, another key work in the cello repertoire, which is infused with elements of Hungarian musical folklore. Melodie by Jörg Widmann, one of the most versatile contemporary artists, will also be performed.
Henri Dutilleux created the first part of Trois strophes sur le nom de Sacher (Three Stanzas on the Name Sacher) after Rostropovich offered him a collective birthday present for director Paul Sacher, and later added two more pieces. The gift consisted of a set of variations based on Sacher's name, translated musically from Germanic notation, as Bach had done with his name in several works, such as the Cello Suite in C minor, BWV 1011. Bach's cello suites must be understood as a single discourse, which are developed with coherence. They are closely linked to Pau Casals, who rescued them from oblivion and turned them into emblematic pieces for cellists. Casals said that in all of Bach's cello suites, the prelude portrayed the general character of the work, and pointed out that "the beginning of the fifth suite, in C minor, is obscure, dramatic and threatening". The programme also includes Zoltán Kodály’s Sonata for Solo Cello, Op. 8, another key work in the cello repertoire, which is infused with elements of Hungarian musical folklore. Melodie by Jörg Widmann, one of the most versatile contemporary artists, will also be performed.
15
Mar
2023
LE RETOUR DE L'ÉCOUTE
SALA 4 - ALICIA DE LARROCHA
Wednesday, 15/03/2023 20:00
Wednesday, 15/03/2023 20:00
LE RETOUR DE L'ÉCOUTE
M.DONEDA+LÉ QUAN NINH+N.ANDORRÀ+T. CHANT
SALA 4 - ALICIA DE LARROCHA
Wednesday, 15/03/2023 20:00
Lê Quan Ninh’s unorthodox approach to listening, with no extra-musical narrative.
Discourse on Western music has long been based on three main cornerstones: the composer, the performer and the work. This ‘holy trinity’ was one of the breakaways that was proposed in the 20th century, sparking off a crisis on the subject of authorship by suggesting that it might be dependent on a combination of factors and hence calling into question whether authorship coincides with authority. The spotlight was thus turned onto role of the performer, often inviting them to act as a joint composer (as was typical with much pre-Baroque music) while also questioning the limits of a work (in particular, whether a “score” should be regarded as the final object of creation). Improvisation and, above all, the use of the adjective “free” have played a fundamental role in all this, with the creative act taking place as it is being listened to. Michel Doneda and Lê Quan Ninh, a long-standing duo with a history spanning over 30 years, have developed a joint creative space based on an unorthodox approach to the act of listening, with no extra-musical narrative and the focus on pure sound. Núria Andorrà and Tom Chant, regular collaborators and leading names in musical improvisation in Barcelona, join forces with them to form a double saxophone and percussion duo, exploring the fragility of the moment through instant composition.
Discourse on Western music has long been based on three main cornerstones: the composer, the performer and the work. This ‘holy trinity’ was one of the breakaways that was proposed in the 20th century, sparking off a crisis on the subject of authorship by suggesting that it might be dependent on a combination of factors and hence calling into question whether authorship coincides with authority. The spotlight was thus turned onto role of the performer, often inviting them to act as a joint composer (as was typical with much pre-Baroque music) while also questioning the limits of a work (in particular, whether a “score” should be regarded as the final object of creation). Improvisation and, above all, the use of the adjective “free” have played a fundamental role in all this, with the creative act taking place as it is being listened to. Michel Doneda and Lê Quan Ninh, a long-standing duo with a history spanning over 30 years, have developed a joint creative space based on an unorthodox approach to the act of listening, with no extra-musical narrative and the focus on pure sound. Núria Andorrà and Tom Chant, regular collaborators and leading names in musical improvisation in Barcelona, join forces with them to form a double saxophone and percussion duo, exploring the fragility of the moment through instant composition.
16
Mar
2023
WESPHERE
SALA 3 - TETE MONTOLIU
Thursday, 16/03/2023 20:00
Thursday, 16/03/2023 20:00
WESPHERE
NOSALTRES ESFERA - ESCULTURA SÒNICA
SALA 3 - TETE MONTOLIU
Thursday, 16/03/2023 20:00
18
Mar
2023
ELS COLORS DEL METALL
SALA 2 - ORIOL MARTORELL
Saturday, 18/03/2023 12:00
Saturday, 18/03/2023 12:00
ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 18/03/2023 12:00
Two trumpets, a French horn, a trombone, a tuba and even a sousophone! Learn all about the colours of the brass family through music of a variety of styles and from different periods. A classic of the Educational Project, with a staging that will surprise the whole family.
18
Mar
2023
ELS COLORS DEL METALL
SALA 2 - ORIOL MARTORELL
Saturday, 18/03/2023 17:00
Saturday, 18/03/2023 17:00
ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 18/03/2023 17:00
Two trumpets, a French horn, a trombone, a tuba and even a sousophone! Learn all about the colours of the brass family through music of a variety of styles and from different periods. A classic of the Educational Project, with a staging that will surprise the whole family.
18
Mar
2023
BRAHMS: EL CANT DEL DESTÍ
SALA 1 - PAU CASALS
Saturday, 18/03/2023 19:00
Saturday, 18/03/2023 19:00
BRAHMS: EL CANT DEL DESTÍ
Marc Bouchkov i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 18/03/2023 19:00
Music for embarking on the journey of Orpheus.
In his Schicksalslied (Song of Destiny), after a long creative process, Johannes Brahms managed to compose a choral and symphonic work conspicuous for its profound solemnity, right from the opening bars. It is inspired by an eponymous poem featured in Friedrich Hölderlin’s Hyperion which contrasts the divine with the human, in the awareness of human mortality. Brahms accomplishes this through a broad spectrum of orchestral colours and rhythmic contrasts, with long phrases that fade into a conciliatory finale. Although it is on a far different scale, it is a work that has been identified as having a similar spirit to his Ein deutsches Requiem (A German Requiem).
Sofia Gubaidulina is a leading exponent of spirituality in contemporary music. “The Lyre of Orpheus”, the first part of the triptych Nadeyka, is a particularly memorable work by the composer, written for Gidon Kremer and dedicated to the memory of Gubaidulina’s daughter.
In La Mort d’Ophélie (The Death of Ophelia), one of three pieces for chorus and orchestra from the Tristia cycle, Hector Berlioz set to music Ophelia’s tragic death, from the fourth act of Hamlet, in a musical poem of supreme delicacy. Originally written for voice and piano, it was later orchestrated with great skill by the French composer.
Even before her own premature death, Lili Boulanger always had close connections with the subject. Du fond de l’abîme (From the Bottom of the Abyss), written at the age of just 24 in memory of her father and based on Psalm 130, is a clear masterpiece, offering indications of what she might have gone on to write if she had not died the following year.
In his Schicksalslied (Song of Destiny), after a long creative process, Johannes Brahms managed to compose a choral and symphonic work conspicuous for its profound solemnity, right from the opening bars. It is inspired by an eponymous poem featured in Friedrich Hölderlin’s Hyperion which contrasts the divine with the human, in the awareness of human mortality. Brahms accomplishes this through a broad spectrum of orchestral colours and rhythmic contrasts, with long phrases that fade into a conciliatory finale. Although it is on a far different scale, it is a work that has been identified as having a similar spirit to his Ein deutsches Requiem (A German Requiem).
Sofia Gubaidulina is a leading exponent of spirituality in contemporary music. “The Lyre of Orpheus”, the first part of the triptych Nadeyka, is a particularly memorable work by the composer, written for Gidon Kremer and dedicated to the memory of Gubaidulina’s daughter.
In La Mort d’Ophélie (The Death of Ophelia), one of three pieces for chorus and orchestra from the Tristia cycle, Hector Berlioz set to music Ophelia’s tragic death, from the fourth act of Hamlet, in a musical poem of supreme delicacy. Originally written for voice and piano, it was later orchestrated with great skill by the French composer.
Even before her own premature death, Lili Boulanger always had close connections with the subject. Du fond de l’abîme (From the Bottom of the Abyss), written at the age of just 24 in memory of her father and based on Psalm 130, is a clear masterpiece, offering indications of what she might have gone on to write if she had not died the following year.
19
Mar
2023
BRAHMS: EL CANT DEL DESTÍ
SALA 1 - PAU CASALS
Sunday, 19/03/2023 11:00
Sunday, 19/03/2023 11:00
BRAHMS: EL CANT DEL DESTÍ
Marc Bouchkov i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 19/03/2023 11:00
Music for embarking on the journey of Orpheus.
In his Schicksalslied (Song of Destiny), after a long creative process, Johannes Brahms managed to compose a choral and symphonic work conspicuous for its profound solemnity, right from the opening bars. It is inspired by an eponymous poem featured in Friedrich Hölderlin’s Hyperion which contrasts the divine with the human, in the awareness of human mortality. Brahms accomplishes this through a broad spectrum of orchestral colours and rhythmic contrasts, with long phrases that fade into a conciliatory finale. Although it is on a far different scale, it is a work that has been identified as having a similar spirit to his Ein deutsches Requiem (A German Requiem).
Sofia Gubaidulina is a leading exponent of spirituality in contemporary music. “The Lyre of Orpheus”, the first part of the triptych Nadeyka, is a particularly memorable work by the composer, written for Gidon Kremer and dedicated to the memory of Gubaidulina’s daughter.
In La Mort d’Ophélie (The Death of Ophelia), one of three pieces for chorus and orchestra from the Tristia cycle, Hector Berlioz set to music Ophelia’s tragic death, from the fourth act of Hamlet, in a musical poem of supreme delicacy. Originally written for voice and piano, it was later orchestrated with great skill by the French composer.
Even before her own premature death, Lili Boulanger always had close connections with the subject. Du fond de l’abîme (From the Bottom of the Abyss), written at the age of just 24 in memory of her father and based on Psalm 130, is a clear masterpiece, offering indications of what she might have gone on to write if she had not died the following year.
In his Schicksalslied (Song of Destiny), after a long creative process, Johannes Brahms managed to compose a choral and symphonic work conspicuous for its profound solemnity, right from the opening bars. It is inspired by an eponymous poem featured in Friedrich Hölderlin’s Hyperion which contrasts the divine with the human, in the awareness of human mortality. Brahms accomplishes this through a broad spectrum of orchestral colours and rhythmic contrasts, with long phrases that fade into a conciliatory finale. Although it is on a far different scale, it is a work that has been identified as having a similar spirit to his Ein deutsches Requiem (A German Requiem).
Sofia Gubaidulina is a leading exponent of spirituality in contemporary music. “The Lyre of Orpheus”, the first part of the triptych Nadeyka, is a particularly memorable work by the composer, written for Gidon Kremer and dedicated to the memory of Gubaidulina’s daughter.
In La Mort d’Ophélie (The Death of Ophelia), one of three pieces for chorus and orchestra from the Tristia cycle, Hector Berlioz set to music Ophelia’s tragic death, from the fourth act of Hamlet, in a musical poem of supreme delicacy. Originally written for voice and piano, it was later orchestrated with great skill by the French composer.
Even before her own premature death, Lili Boulanger always had close connections with the subject. Du fond de l’abîme (From the Bottom of the Abyss), written at the age of just 24 in memory of her father and based on Psalm 130, is a clear masterpiece, offering indications of what she might have gone on to write if she had not died the following year.
19
Mar
2023
ELS COLORS DEL METALL
SALA 2 - ORIOL MARTORELL
Sunday, 19/03/2023 12:00
Sunday, 19/03/2023 12:00
ELS COLORS DEL METALL
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 19/03/2023 12:00
Two trumpets, a French horn, a trombone, a tuba and even a sousophone! Learn all about the colours of the brass family through music of a variety of styles and from different periods. A classic of the Educational Project, with a staging that will surprise the whole family.
19
Mar
2023
L'HORA DE L'ÀNIMA
SALA 1 - PAU CASALS
Sunday, 19/03/2023 18:00
Sunday, 19/03/2023 18:00
L'HORA DE L'ÀNIMA
Gemma Coma-Alabert i José R. Pascual-Vilaplana
SALA 1 - PAU CASALS
Sunday, 19/03/2023 18:00
For decades Sofia Gubaidulina has been a leading figure in international contemporary music. This performance of Hour of the Soul, which she has arranged for band herself, is a wonderful opportunity to enter a sound universe infused with spirituality. Percussion instruments are central to the work, reflecting the inner life of individuals. As the piece proceeds, the external world, often futile and superficial, intrudes, in the form of film clips, Soviet marches and popular tunes, ending with some verses by Marina Tsvetaeva, a victim of Stalin’s repression.
Ferrer Ferran’s Symphony no. 3 was commissioned by the Federació Catalana de Societats Musicals. It is dedicated to architect Antoni Gaudí and consists of two movements: “Gaudí” and “Sagrada Família”. The concert begins with a piece by Stephanie Marie Macchi, who is studying composition at the Escola Superior de Música de Catalunya.
Ferrer Ferran’s Symphony no. 3 was commissioned by the Federació Catalana de Societats Musicals. It is dedicated to architect Antoni Gaudí and consists of two movements: “Gaudí” and “Sagrada Família”. The concert begins with a piece by Stephanie Marie Macchi, who is studying composition at the Escola Superior de Música de Catalunya.
21
Mar
2023
RAKHMÀNINOV: VESPERS
ESCENARI SALA PAU CASALS
Tuesday, 21/03/2023 19:00
Tuesday, 21/03/2023 19:00
RAKHMÀNINOV: VESPERS
LATVIAN RADIO CHOIR
ESCENARI SALA PAU CASALS
Tuesday, 21/03/2023 19:00
One of the great choral compositions of Orthodox liturgical music sung by the excellent Latvian Radio Choir.
All-Night Vigil is one of the great choral compositions of Orthodox liturgical music. It took Rachmaninoff less than two weeks to compose. The work premiered in March 1915, in the midst of World War I. Unlike The Bells, The Vigil is a cappella work, which moves away from symphony music that characterises the composer so much. When creating the melodies, Rachmaninoff started mainly from old monodic Russian songs. Dedicated to the night vigil, an all-night Orthodox ceremony, the work covers three canonical hours: evenings, dawn, and sunset. The first six movements correspond to evening time, which give the work its name; the next eight - dawn, and the last - sunset. In line with Orthodox doctrine, Rachmaninoff strongly believed in the resurrection of Jesus and approached it with moving serenity. The composer had a special fondness for the fifth movement of the work, the "Nunc dimittis", requesting that it be played at his funeral.
All-Night Vigil is one of the great choral compositions of Orthodox liturgical music. It took Rachmaninoff less than two weeks to compose. The work premiered in March 1915, in the midst of World War I. Unlike The Bells, The Vigil is a cappella work, which moves away from symphony music that characterises the composer so much. When creating the melodies, Rachmaninoff started mainly from old monodic Russian songs. Dedicated to the night vigil, an all-night Orthodox ceremony, the work covers three canonical hours: evenings, dawn, and sunset. The first six movements correspond to evening time, which give the work its name; the next eight - dawn, and the last - sunset. In line with Orthodox doctrine, Rachmaninoff strongly believed in the resurrection of Jesus and approached it with moving serenity. The composer had a special fondness for the fifth movement of the work, the "Nunc dimittis", requesting that it be played at his funeral.
22
Mar
2023
HUMET: LLUM
ESCENARI SALA PAU CASALS
Wednesday, 22/03/2023 19:00
Wednesday, 22/03/2023 19:00
HUMET: LLUM
LATVIAN RADIO CHOIR
ESCENARI SALA PAU CASALS
Wednesday, 22/03/2023 19:00
In Llum, Humet embraces the plenitude of sound and depths of silence.
Is spirituality, in the full sense of the word, possible in this fast-paced age of anxiety? Llum (Light) is an invitation to reflect on this issue, listening to that inner voice that we so often overlook, given modern forms of socialisation and the resulting tendency to externalise our feelings. In Llum, Ramon Humet sets to music a series of poems by Vicenç Santamaria, a monk at the monastery of Montserrat and friend of the composer, which send us on an “inner pilgrimage”. He begins by inviting us to “close our eyes” (through a kind of lullaby) and then to “journey inwards” (to the accompaniment of a march) in order to achieve “a heart at peace” and “rays of light” prior to the “Alleluia” that concludes the piece. In contrast with the emotional explosion of traditional alleluias, in the final movements, Humet creates interplay between full sonority and the “depths of silence”, as he explains, which is another way of describing one of the verses of the poem Pau al cor (A Heart at Peace): “Silence, gateway to the world”. As Pascal Quignard said, with good reason, silence is a song by privation.
Is spirituality, in the full sense of the word, possible in this fast-paced age of anxiety? Llum (Light) is an invitation to reflect on this issue, listening to that inner voice that we so often overlook, given modern forms of socialisation and the resulting tendency to externalise our feelings. In Llum, Ramon Humet sets to music a series of poems by Vicenç Santamaria, a monk at the monastery of Montserrat and friend of the composer, which send us on an “inner pilgrimage”. He begins by inviting us to “close our eyes” (through a kind of lullaby) and then to “journey inwards” (to the accompaniment of a march) in order to achieve “a heart at peace” and “rays of light” prior to the “Alleluia” that concludes the piece. In contrast with the emotional explosion of traditional alleluias, in the final movements, Humet creates interplay between full sonority and the “depths of silence”, as he explains, which is another way of describing one of the verses of the poem Pau al cor (A Heart at Peace): “Silence, gateway to the world”. As Pascal Quignard said, with good reason, silence is a song by privation.
24
Mar
2023
XOSTAKÓVITX 10
SALA 1 - PAU CASALS
Friday, 24/03/2023 19:00
Friday, 24/03/2023 19:00
XOSTAKÓVITX 10
Isata Kanneh Mason i Anja Bihlmaier
SALA 1 - PAU CASALS
Friday, 24/03/2023 19:00
Soviet music’s political mask.
Following his sarcastic Symphony No. 9, when the establishment was expecting a musical celebration of Russia’s military victory over Germany, Dmitri Shostakovich rose above the hostile atmosphere and wrote Symphony No. 10, premiered in the same year that Stalin died. Shortly before, he had been fired from the Conservatory and accused of being a “formalist” and enemy of the people. His Symphony No. 10 contrasted with this in its triumphal success, and it led to years of huge national and international acclaim. Nonetheless, official Soviet circles never understood this work, with its lack of heroism or its conciliatory images and enigmatic backdrop, even though it is an outstanding work by one of the 20th century’s greatest symphony composers.
Sergei Prokofiev was also branded a “formalist” when he premiered his Piano Concerto No. 3 in Chicago three years after abandoning Russia. The composer’s music for piano includes some of his most inspired works, always marked by an ironic attitude to tradition. The aggressive use of rhythm, irresistible lyricism, and the soloist’s virtuoso interplay with the orchestra have made this one of Prokofiev’s most popular works.
Following his sarcastic Symphony No. 9, when the establishment was expecting a musical celebration of Russia’s military victory over Germany, Dmitri Shostakovich rose above the hostile atmosphere and wrote Symphony No. 10, premiered in the same year that Stalin died. Shortly before, he had been fired from the Conservatory and accused of being a “formalist” and enemy of the people. His Symphony No. 10 contrasted with this in its triumphal success, and it led to years of huge national and international acclaim. Nonetheless, official Soviet circles never understood this work, with its lack of heroism or its conciliatory images and enigmatic backdrop, even though it is an outstanding work by one of the 20th century’s greatest symphony composers.
Sergei Prokofiev was also branded a “formalist” when he premiered his Piano Concerto No. 3 in Chicago three years after abandoning Russia. The composer’s music for piano includes some of his most inspired works, always marked by an ironic attitude to tradition. The aggressive use of rhythm, irresistible lyricism, and the soloist’s virtuoso interplay with the orchestra have made this one of Prokofiev’s most popular works.
25
Mar
2023
XOSTAKÓVITX 10
SALA 1 - PAU CASALS
Saturday, 25/03/2023 19:00
Saturday, 25/03/2023 19:00
XOSTAKÓVITX 10
Isata Kanneh Mason i Anja Bihlmaier
SALA 1 - PAU CASALS
Saturday, 25/03/2023 19:00
Soviet music’s political mask.
Following his sarcastic Symphony No. 9, when the establishment was expecting a musical celebration of Russia’s military victory over Germany, Dmitri Shostakovich rose above the hostile atmosphere and wrote Symphony No. 10, premiered in the same year that Stalin died. Shortly before, he had been fired from the Conservatory and accused of being a “formalist” and enemy of the people. His Symphony No. 10 contrasted with this in its triumphal success, and it led to years of huge national and international acclaim. Nonetheless, official Soviet circles never understood this work, with its lack of heroism or its conciliatory images and enigmatic backdrop, even though it is an outstanding work by one of the 20th century’s greatest symphony composers.
Sergei Prokofiev was also branded a “formalist” when he premiered his Piano Concerto No. 3 in Chicago three years after abandoning Russia. The composer’s music for piano includes some of his most inspired works, always marked by an ironic attitude to tradition. The aggressive use of rhythm, irresistible lyricism, and the soloist’s virtuoso interplay with the orchestra have made this one of Prokofiev’s most popular works.
Following his sarcastic Symphony No. 9, when the establishment was expecting a musical celebration of Russia’s military victory over Germany, Dmitri Shostakovich rose above the hostile atmosphere and wrote Symphony No. 10, premiered in the same year that Stalin died. Shortly before, he had been fired from the Conservatory and accused of being a “formalist” and enemy of the people. His Symphony No. 10 contrasted with this in its triumphal success, and it led to years of huge national and international acclaim. Nonetheless, official Soviet circles never understood this work, with its lack of heroism or its conciliatory images and enigmatic backdrop, even though it is an outstanding work by one of the 20th century’s greatest symphony composers.
Sergei Prokofiev was also branded a “formalist” when he premiered his Piano Concerto No. 3 in Chicago three years after abandoning Russia. The composer’s music for piano includes some of his most inspired works, always marked by an ironic attitude to tradition. The aggressive use of rhythm, irresistible lyricism, and the soloist’s virtuoso interplay with the orchestra have made this one of Prokofiev’s most popular works.
26
Mar
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 10:30
Sunday, 26/03/2023 10:30
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 10:30
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
26
Mar
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 11:45
Sunday, 26/03/2023 11:45
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 11:45
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
26
Mar
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 16:00
Sunday, 26/03/2023 16:00
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 16:00
Want the resources to develop your child’s first musical skills and to share this moment with us? We’ll accompany you in this process that will enrich the whole family... A musical proposal for awakening their senses!
Babies too should have their entrance ticket.
Babies too should have their entrance ticket.
26
Mar
2023
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 17:15
Sunday, 26/03/2023 17:15