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.
30
Jan
CANTA GRAN 2022-2023 / BOLEROS
SALA 1 - PAU CASALS
Monday, 30/01/2023 18:30
Monday, 30/01/2023 18:30
CANTA GRAN 2022-2023 / BOLEROS
SALA 1 - PAU CASALS
Monday, 30/01/2023 18:30
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
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
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
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 4/02/2023 17:15
Saturday, 4/02/2023 17:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 4/02/2023 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.
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
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.
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.
Sold out
5
Feb
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.
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
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.
UKIGUMO
JISEI NO KU'. ODES A LA MORT
SALA 4 - ALICIA DE LARROCHA
Sunday, 5/02/2023 17:30
5
Feb
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
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
ANNA COLOM, CARLES MARIGÓ & CO
SALA 3 - TETE MONTOLIU
Thursday, 9/02/2023 21:00
Thursday, 9/02/2023 21:00
ANNA COLOM, CARLES MARIGÓ & CO
“No se lo digas a nadie”
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
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
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
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
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
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.
16
Feb
OBC CAMBRA # 2
SALA 2 - ORIOL MARTORELL
Thursday, 16/02/2023 19:00
Thursday, 16/02/2023 19:00
OBC CAMBRA # 2
Schubert redescobert
SALA 2 - ORIOL MARTORELL
Thursday, 16/02/2023 19:00
18
Feb
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
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
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
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
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.
19
Feb
Film Symphony Orchestra - KRYPTON
SALA 1 - PAU CASALS
Sunday, 19/02/2023 19:30
Sunday, 19/02/2023 19:30
Film Symphony Orchestra - KRYPTON
Héroes y superhéroes en concierto
SALA 1 - PAU CASALS
Sunday, 19/02/2023 19:30
24
Feb
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
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
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.
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
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
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
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
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
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.
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.
EL COR CANTA
ESCOLTEM! PARLEN LES DONES
SALA 1 - PAU CASALS
Sunday, 5/03/2023 12:00
FILA ZERO - EL COR CANTA
FILA ZERO
Sunday, 5/03/2023 12:00
5
Mar
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.
9
Mar
OBC CAMBRA # 3
SALA 2 - ORIOL MARTORELL
Thursday, 9/03/2023 19:00
Thursday, 9/03/2023 19:00
OBC CAMBRA # 3
Retorn a Bohèmia
SALA 2 - ORIOL MARTORELL
Thursday, 9/03/2023 19:00
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.
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
A BEGINNING #16161D
SALA 3 - TETE MONTOLIU
Saturday, 11/03/2023 20:00
Saturday, 11/03/2023 20:00
A BEGINNING #16161D
AURORA BAUZÀ & PERE JOU
SALA 3 - TETE MONTOLIU
Saturday, 11/03/2023 20:00
12
Mar
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
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
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
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
A BEGINNING #16161D
SALA 3 - TETE MONTOLIU
Sunday, 12/03/2023 18:00
Sunday, 12/03/2023 18:00
A BEGINNING #16161D
AURORA BAUZÀ & PERE JOU
SALA 3 - TETE MONTOLIU
Sunday, 12/03/2023 18:00
13
Mar
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
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.
WESPHERE
NOSALTRES ESFERA - ESCULTURA SÒNICA
SALA 3 - TETE MONTOLIU
Thursday, 16/03/2023 20:00
16
Mar
TAGHI AKBARI
MONESTIR DE SANT PAU DEL CAMP
Thursday, 16/03/2023 20:00
Thursday, 16/03/2023 20:00
TAGHI AKBARI
MÚSIQUES DEL MISTICISME PERSA
MONESTIR DE SANT PAU DEL CAMP
Thursday, 16/03/2023 20:00
18
Mar
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
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
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
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
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
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
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
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
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
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.
25
Mar
LA MORT DEL GÈNERE RADIOSHOW
SALA 2 - ORIOL MARTORELL
Saturday, 25/03/2023 20:00
Saturday, 25/03/2023 20:00
LA MORT DEL GÈNERE RADIOSHOW
SALA 2 - ORIOL MARTORELL
Saturday, 25/03/2023 20:00
26
Mar
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
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 11:45
Sunday, 26/03/2023 11:45
Sold out
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.
Sold out
26
Mar
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
WORKSHOP FOR BABIES
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 17:15
Sunday, 26/03/2023 17:15
WORKSHOP FOR BABIES
CONCERTS FAMILIARS 2022-2023
SALA 4 - ALICIA DE LARROCHA
Sunday, 26/03/2023 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.
29
Mar
LES SET PARAULES
SALA 1 - PAU CASALS
Wednesday, 29/03/2023 19:00
Wednesday, 29/03/2023 19:00
LES SET PARAULES
EL SO ORIGINAL. JORDI SAVALL
SALA 1 - PAU CASALS
Wednesday, 29/03/2023 19:00
A Protestant interpretation that still manages to glow with the luminosity of Italian music.
In December, Ensemble O Vos Omnes performed Haydn’s The Seven Last Words of Our Saviour on the Cross in its oratorio version. Now, Jordi Savall presents the work in its original rendering for orchestra and choir, complemented with the version by Heinrich Schütz, one of the leading composers of the early German Baroque period and a clear predecessor of Johann Sebastian Bach. Schütz’s interpretation of Christ’s words on the cross is clearly rooted in Protestantism, without relinquishing the luminosity of Italian –and, in particular, Venetian– music, with a triumphant use of colour that heightens the drama and pathos rather than diminishing it.
To provide an even more enlightened insight, the programme also features the atheist layman’s view of Portuguese writer José Saramago (author of The Gospel According to Jesus Christ) and The Seven Last Words of Man. The concert, programmed for the middle of Easter Week, offers a human insight into Christ’s suffering, without relinquishing the introspection and spiritual importance of music that is capable of stirring the heartstrings of believers and non-believers alike.
In December, Ensemble O Vos Omnes performed Haydn’s The Seven Last Words of Our Saviour on the Cross in its oratorio version. Now, Jordi Savall presents the work in its original rendering for orchestra and choir, complemented with the version by Heinrich Schütz, one of the leading composers of the early German Baroque period and a clear predecessor of Johann Sebastian Bach. Schütz’s interpretation of Christ’s words on the cross is clearly rooted in Protestantism, without relinquishing the luminosity of Italian –and, in particular, Venetian– music, with a triumphant use of colour that heightens the drama and pathos rather than diminishing it.
To provide an even more enlightened insight, the programme also features the atheist layman’s view of Portuguese writer José Saramago (author of The Gospel According to Jesus Christ) and The Seven Last Words of Man. The concert, programmed for the middle of Easter Week, offers a human insight into Christ’s suffering, without relinquishing the introspection and spiritual importance of music that is capable of stirring the heartstrings of believers and non-believers alike.
30
Mar
NUNO REBELO
MUSEU DE LA MÚSICA (SALA DE TECLATS)
Thursday, 30/03/2023 20:00
Thursday, 30/03/2023 20:00
NUNO REBELO
MUSEU DE LA MÚSICA (SALA DE TECLATS)
Thursday, 30/03/2023 20:00
BEETHOVEN 5
Juan Manuel Gómez i Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 31/03/2023 19:00
Music that changed the history of how music is listened to.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
BEETHOVEN 5
Juan Manuel Gómez i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 1/04/2023 19:00
Music that changed the history of how music is listened to.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
BEETHOVEN 5
Juan Manuel Gómez i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 2/04/2023 11:00
Music that changed the history of how music is listened to.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
Some music has an aura of legend, with so much historical significance that we forget the music itself since it manages to transcend all else. This is the rare case of L. V. Beethoven’s Symphony No. 5. A work that was gradually fashioned over a long period of time, it was premiered in Vienna in 1808 under the baton of the composer himself, where it made an astonishing impact, transforming the history and significance of symphonic music. In his well-known review written two years after the premiere, E. T. A. Hoffmann said that it opened the gateway to the “kingdom of the infinite”.
Much of F. J. Haydn’s superb sense of freedom is revealed in his Symphony No. 60, known as Il Distratto (The Distracted), a work filled with musical surprises with an almost theatrical approach to the scenes. Indeed, originally it was conceived as incidental music for a play. The sublime and the hilarious both coexist in a work that still conserves a modern air over two centuries after it was written.
Hans Abrahamsen’s Horn Concerto has been a hit success on numerous occasions in Europe since its premiere. Dedicated to the well-known German horn player, Stefan Dohr, who premiered it with the Berlin Philharmonic in 2020, it has been highlighted for its capacity to create surprising, evocative atmospheres with few means.
Even after his exile in the United States, Bohuslav Martinů was able to concentrate on one of his major works, Memorial to Lidice, a heartrending musical testimony to one of the worst massacres committed by the Nazis during their occupation of the former Czechoslovakia, in which he includes the famous “destiny” motif from Beethoven’s Symphony No. 5.
WORKSHOP: TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 2/04/2023 11:00
In this workshop, you will work with the music from the “Tutti fan piu” 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 29/04 at 5 pm and 30/04 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 29/04 at 5 pm and 30/04 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: TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 2/04/2023 12:15
In this workshop, you will work with the music from the “Tutti fan piu” 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 29/04 at 5 pm and 30/04 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 29/04 at 5 pm and 30/04 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.
2
Apr
RÈQUIEM DE RUTTER
SALA 1 - PAU CASALS
Sunday, 2/04/2023 18:00
Sunday, 2/04/2023 18:00
RÈQUIEM DE RUTTER
Carmen Solís i Barcelona Clarinet Players
SALA 1 - PAU CASALS
Sunday, 2/04/2023 18:00
Two world-first performances by Catalan composers and one of John Rutter’s most monumental works make this concert by the Symphonic Band one that should not be missed. Not only because of the works performed but also because of the participation of soprano Carmen Solís, the Cor Jove de l’Orfeó Català and Coral Cantiga, and the Barcelona Clarinet Players, who commissioned Tanzbilder from composer Enric Palomar. The Black Windows, by Agustí Charles, a work for voice and band, is based on four verses of Les fenêtres (The windows), a series of poems by Rainer Maria Rilke, published in 1927 with illustrations by Baladine Klossowska.
John Rutter composed the Requiem in memory of his father. The work consists of seven movements which include texts from the Requiem Mass and the Anglican Book of Common Prayer. It opens with the contrast between darkness and light in the “Requiem aeternam” and closes with the brilliance of the magnificent “Lux aeterna”.
John Rutter composed the Requiem in memory of his father. The work consists of seven movements which include texts from the Requiem Mass and the Anglican Book of Common Prayer. It opens with the contrast between darkness and light in the “Requiem aeternam” and closes with the brilliance of the magnificent “Lux aeterna”.
12
Apr
ENSEMBLE O VOS OMNES
SANTA MARIA DEL PI
Wednesday, 12/04/2023 20:00
Wednesday, 12/04/2023 20:00
ENSEMBLE O VOS OMNES
LAMENTATIO
SANTA MARIA DEL PI
Wednesday, 12/04/2023 20:00
Ensemble O Vos Omnes revives Icart and Pujol’s lamentations.
This programme by Ensemble O Vos Omnes (L’Auditori’s resident choir) contrasts two works on the same theme: the prophet Jeremiah’s Book of Lamentations from the Old Testament, very probably compiled in the 6th century BC. The book’s mournful laments, which conjure up the destruction of Jerusalem and the Jewish people’s exile, have been set to music in different adaptations throughout Europe’s history.
The concert includes the version by Joan Pau Pujol (1570-1626), a Catalan composer who trained in Mataró and worked as an organist in Tarragona and Barcelona. Ensemble O Vos Omnes will also perform a work that the choir itself has revived: a version by Bernat Icart, who was probably born in Camp de Tarragona. Relatively little is known about this 15th-century composer and his music, although he worked for the Kingdoms of Sicily and Naples in the service of the Renaissance Castilian monarchy.
This programme by Ensemble O Vos Omnes (L’Auditori’s resident choir) contrasts two works on the same theme: the prophet Jeremiah’s Book of Lamentations from the Old Testament, very probably compiled in the 6th century BC. The book’s mournful laments, which conjure up the destruction of Jerusalem and the Jewish people’s exile, have been set to music in different adaptations throughout Europe’s history.
The concert includes the version by Joan Pau Pujol (1570-1626), a Catalan composer who trained in Mataró and worked as an organist in Tarragona and Barcelona. Ensemble O Vos Omnes will also perform a work that the choir itself has revived: a version by Bernat Icart, who was probably born in Camp de Tarragona. Relatively little is known about this 15th-century composer and his music, although he worked for the Kingdoms of Sicily and Naples in the service of the Renaissance Castilian monarchy.
13
Apr
TOTI SOLER
SALA 3 - TETE MONTOLIU
Thursday, 13/04/2023 20:30
Thursday, 13/04/2023 20:30
TOTI SOLER
FILL DE LA FORTUNA
SALA 3 - TETE MONTOLIU
Thursday, 13/04/2023 20:30
14
Apr
BEETHOVEN: VIOLIN CONCERTO
SALA 1 - PAU CASALS
Friday, 14/04/2023 19:00
Friday, 14/04/2023 19:00
BEETHOVEN: VIOLIN CONCERTO
Alina Ibragimova i Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 14/04/2023 19:00
The finest exponent of a genre and one of Beethoven’s masterpieces.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
14
Apr
LEA DESANDRE & THOMAS DUNFORD
SANTA MARIA DEL PI
Friday, 14/04/2023 20:00
Friday, 14/04/2023 20:00
LEA DESANDRE & THOMAS DUNFORD
LAISSEZ DURER LA NUIT
SANTA MARIA DEL PI
Friday, 14/04/2023 20:00
Desandre and Dunford bring the intimacy of 17th-century French music to L’Auditori.
Laissez durer la nuit (Let the Night Last) is the fascinating title of a concert by mezzo-soprano Lea Desandre (who regularly takes part in concerts by William Christie) and the lute and theorbo player Thomas Dunford. The programme by both artists focuses on the compositions of 17th-century French composers, including pastoral work by Michel Lambert, Marc-Antoine Charpentier and Marin Marais, among others. Sébastien Le Camus is the composer of Laissez durer la nuit, a famous song and tribute to the night in the tradition of an aubade. The concert combines vocal pieces, accompanied by instruments, in the intimate style of French music from three hundred and fifty years ago with the grandeur and pomposity of the French courtly music performed at Versailles.
Laissez durer la nuit (Let the Night Last) is the fascinating title of a concert by mezzo-soprano Lea Desandre (who regularly takes part in concerts by William Christie) and the lute and theorbo player Thomas Dunford. The programme by both artists focuses on the compositions of 17th-century French composers, including pastoral work by Michel Lambert, Marc-Antoine Charpentier and Marin Marais, among others. Sébastien Le Camus is the composer of Laissez durer la nuit, a famous song and tribute to the night in the tradition of an aubade. The concert combines vocal pieces, accompanied by instruments, in the intimate style of French music from three hundred and fifty years ago with the grandeur and pomposity of the French courtly music performed at Versailles.
15
Apr
HÄNDEL & FRIENDS
SALA 2 - ORIOL MARTORELL
Saturday, 15/04/2023 17:00
Saturday, 15/04/2023 17:00
HÄNDEL & FRIENDS
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 15/04/2023 17:00
Imagine travelling in time and space without even leaving your seat? Navigate through the canals of Vivaldi’s Venice, discover the hidden corners of Louis XIV’s Palace of Versailles and stroll through the streets of Leipzig, where the Bach family lived for several years... There’s all that and more, brought to you by five musicians who are experts in playing historical instruments.
15
Apr
BEETHOVEN: VIOLIN CONCERTO
SALA 1 - PAU CASALS
Saturday, 15/04/2023 19:00
Saturday, 15/04/2023 19:00
BEETHOVEN: VIOLIN CONCERTO
Alina Ibragimova i Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 15/04/2023 19:00
The finest exponent of a genre and one of Beethoven’s masterpieces.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
16
Apr
BEETHOVEN: VIOLIN CONCERTO
SALA 1 - PAU CASALS
Sunday, 16/04/2023 11:00
Sunday, 16/04/2023 11:00
BEETHOVEN: VIOLIN CONCERTO
Alina Ibragimova i Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 16/04/2023 11:00
The finest exponent of a genre and one of Beethoven’s masterpieces.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
Written at the same time as his Symphony No. 4, L. V. Beethoven’s Violin Concerto is one of the finest exponents of this genre and one of the composer’s masterpieces. It is a revolutionary work, filled with formal discoveries, far removed from classic concertos, with a surprising use of percussion and equal prominence given to the orchestra and violin. With its central larghetto, which ranks among some of the most admired passages in history, it marks a turning point in the composer’s work.
It is always interesting to find out the origins of pathways that have impacted on a certain period. This is the case of Olivier Messiaen’s L’Ascension, one of the great innovators in 20th century music. In these four symphonic meditations, with echoes of his early works for organ such as Le banquet céleste, the elements used to build them can be discerned, marked by the concept of spiritual contemplation. Messiaen eliminates the notion of the passage of time and, with it, our experience of time, displaying an admirable use of orchestral colour despite his youth.
Death and Transfiguration, which sparked off controversy on the concept of a poetic “programme” in music from the moment that it was premiered, has become one of Richard Strauss’ best-known works for orchestra and it is one of his most brilliant symphonic poems: an exhilarating journey from death to the sublime.
WORKSHOP: TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 16/04/2023 11:00
In this workshop, you will work with the music from the “Tutti fan piu” 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 29/04 at 5 pm and 30/04 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 29/04 at 5 pm and 30/04 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: TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 16/04/2023 12:15
In this workshop, you will work with the music from the “Tutti fan piu” 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 29/04 at 5 pm and 30/04 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 29/04 at 5 pm and 30/04 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.
16
Apr
HÄNDEL & FRIENDS
SALA 2 - ORIOL MARTORELL
Sunday, 16/04/2023 12:30
Sunday, 16/04/2023 12:30
HÄNDEL & FRIENDS
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 16/04/2023 12:30
Imagine travelling in time and space without even leaving your seat? Navigate through the canals of Vivaldi’s Venice, discover the hidden corners of Louis XIV’s Palace of Versailles and stroll through the streets of Leipzig, where the Bach family lived for several years... There’s all that and more, brought to you by five musicians who are experts in playing historical instruments.
WAGNER
Kalina Macuta i Salvador Brotons
SALA 1 - PAU CASALS
Sunday, 16/04/2023 18:00
Richard Wagner conceived his lyric dramas as total works of art, intended to counteract the clichés of nineteenth-century Italian opera, especially bel canto. We often hear this music in concert format but, even if the works are not staged, they can be very moving. In the second part of the concert, Symphonic Band, conducted by Salvador Brotons, performs the overture to Tannhäuser and fragments of Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), music that transports us to an unmistakeably Wagnerian world of sound. The first part opens with the overture to Rienzi, one of the German composer’s early operas, but one which bears the stamp of his work. A further attraction in Broton’s programme is the first performance of his Violin Concerto arranged for wind orchestra, with Mallorcan violinist Francisco Fullana as soloist.
18
Apr
GUERRERO: RÈQUIEM
ESGLÉSIA DELS SANTS JUST I PASTOR
Tuesday, 18/04/2023 19:00
Tuesday, 18/04/2023 19:00
GUERRERO: RÈQUIEM
COR CEREROLS
ESGLÉSIA DELS SANTS JUST I PASTOR
Tuesday, 18/04/2023 19:00
Guerrero’s Missa pro defunctis takes pride of place alongside requiems by Morales and Victoria.
Francisco Guerrero (1528-1599) was a priest and musician from Seville. Together with Cristóbal de Morales and Tomás Luis de Victoria, he was one of the three figureheads of Spanish Renaissance polyphony. Guerrero worked for Holy Roman Emperor Maximilian II and he travelled to Italy and the Holy Land. His music is not just limited to religious works, since he also composed some secular music. Among his work, Missa pro defunctis (1582) takes pride of place alongside the requiems of his peers Morales and Victoria. Written for four voices, it is one of Renaissance Spain’s finest polyphonic compositions, acknowledged by musicologists such as Felip Pedrell in their research into the history of music. The work reflects 16th-century Castile’s aesthetic fascination with death, under the attentive eye of the counter-reformist Council of Trent, which strove to achieve a return to Gregorian chants and plainsong, although it tolerated vocal polyphony with no accompanying instruments.
Francisco Guerrero (1528-1599) was a priest and musician from Seville. Together with Cristóbal de Morales and Tomás Luis de Victoria, he was one of the three figureheads of Spanish Renaissance polyphony. Guerrero worked for Holy Roman Emperor Maximilian II and he travelled to Italy and the Holy Land. His music is not just limited to religious works, since he also composed some secular music. Among his work, Missa pro defunctis (1582) takes pride of place alongside the requiems of his peers Morales and Victoria. Written for four voices, it is one of Renaissance Spain’s finest polyphonic compositions, acknowledged by musicologists such as Felip Pedrell in their research into the history of music. The work reflects 16th-century Castile’s aesthetic fascination with death, under the attentive eye of the counter-reformist Council of Trent, which strove to achieve a return to Gregorian chants and plainsong, although it tolerated vocal polyphony with no accompanying instruments.
20
Apr
OBC CAMBRA # 4
SALA 2 - ORIOL MARTORELL
Thursday, 20/04/2023 19:00
Thursday, 20/04/2023 19:00
OBC CAMBRA # 4
L'Octet de Schubert
SALA 2 - ORIOL MARTORELL
Thursday, 20/04/2023 19:00
20
Apr
MORALES. RÈQUIEM
MONESTIR DE SANT PAU DEL CAMP'
Thursday, 20/04/2023 19:00
Thursday, 20/04/2023 19:00
MORALES. RÈQUIEM
CANTORÍA
MONESTIR DE SANT PAU DEL CAMP'
Thursday, 20/04/2023 19:00
One of the finest examples of 16th-century Castilian polyphony.
The requiem for five voices Missa pro defunctis by the Seville-born priest Cristóbal de Morales (1500-1553) is a highly unique work. Influenced by the master of polyphony, Josquin Desprez, Morales came to achieve international recognition. His contemporary, Juan Vásquez, said that Morales was the light of Spain transformed into music. When the score of Missa pro defunctis was published, the musician was living in Rome. The work was sung posthumously in 1559 at the mass held in memory of Emperor Carlos V (Carlos I of Castile) in Mexico, a year after his death in Yuste. Thirty-nine years later, it was performed again in Toledo at the funeral of the emperor’s son, Felipe II of Castile. One of the finest examples of 16th-century Castilian polyphony, together with the funeral masses by Guerrero and Victoria, it stands out for its ascetism, austerity and drama.
The requiem for five voices Missa pro defunctis by the Seville-born priest Cristóbal de Morales (1500-1553) is a highly unique work. Influenced by the master of polyphony, Josquin Desprez, Morales came to achieve international recognition. His contemporary, Juan Vásquez, said that Morales was the light of Spain transformed into music. When the score of Missa pro defunctis was published, the musician was living in Rome. The work was sung posthumously in 1559 at the mass held in memory of Emperor Carlos V (Carlos I of Castile) in Mexico, a year after his death in Yuste. Thirty-nine years later, it was performed again in Toledo at the funeral of the emperor’s son, Felipe II of Castile. One of the finest examples of 16th-century Castilian polyphony, together with the funeral masses by Guerrero and Victoria, it stands out for its ascetism, austerity and drama.
22
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Saturday, 22/04/2023 12:00
Saturday, 22/04/2023 12:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 22/04/2023 12:00
22
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Saturday, 22/04/2023 17:00
Saturday, 22/04/2023 17:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 22/04/2023 17:00
22
Apr
ÉLIANE RADIGUE
SALA 2 - ORIOL MARTORELL
Saturday, 22/04/2023 20:00
Saturday, 22/04/2023 20:00
ÉLIANE RADIGUE
ENSEMBLE DEDALUS
SALA 2 - ORIOL MARTORELL
Saturday, 22/04/2023 20:00
Radigue explores the continuum of time.
Kyema by the French composer Éliane Radigue deals with ways of relating to death that have nothing to do with the typical clichés. In this case, they are taken from the Tibetan Book of the Dead and its descriptions of the six intermediate states that constitute the existential continuum of being, hence the work’s circular nature. As the title reveals, water plays a star role in Occam Ocean, with the emphasis on its cyclical existence and constant flow. Through incredibly precise control of sound, with the to-ing and fro-ing of the performers’ “solos”, the piece seeks to raise a greater awareness of tiny vibrational variations. Catherine Lamb works along similar lines, creating juxtapositions: layers that become dense or atmospheric, as if, in the composer’s own words, each performer were a glass that either let light through or else blocked it out. The three pieces thus demonstrate the artificiality of the beginning and end of all music, whose main characteristic is its collusion in the continuum of time.
Kyema by the French composer Éliane Radigue deals with ways of relating to death that have nothing to do with the typical clichés. In this case, they are taken from the Tibetan Book of the Dead and its descriptions of the six intermediate states that constitute the existential continuum of being, hence the work’s circular nature. As the title reveals, water plays a star role in Occam Ocean, with the emphasis on its cyclical existence and constant flow. Through incredibly precise control of sound, with the to-ing and fro-ing of the performers’ “solos”, the piece seeks to raise a greater awareness of tiny vibrational variations. Catherine Lamb works along similar lines, creating juxtapositions: layers that become dense or atmospheric, as if, in the composer’s own words, each performer were a glass that either let light through or else blocked it out. The three pieces thus demonstrate the artificiality of the beginning and end of all music, whose main characteristic is its collusion in the continuum of time.
23
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Sunday, 23/04/2023 10:30
Sunday, 23/04/2023 10:30
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 23/04/2023 10:30
23
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Sunday, 23/04/2023 12:00
Sunday, 23/04/2023 12:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 23/04/2023 12:00
25
Apr
LAMENTO SOPRA LA MORTE
ESGLÉSIA DELS SANTS JUST I PASTOR
Tuesday, 25/04/2023 19:00
Tuesday, 25/04/2023 19:00
LAMENTO SOPRA LA MORTE
TIENTO NUOVO + IGNACIO PREGO
ESGLÉSIA DELS SANTS JUST I PASTOR
Tuesday, 25/04/2023 19:00
Ignacio Prego offers a fascinating picture of the German Baroque period.
No programme of concerts on the theme of funeral music would be complete without Lament on the Death of Ferdinand III by Johann Heinrich Schmelzer, the Baroque composer and violinist and maestro of Heinrich Ignaz Franz von Biber, who is also featured at this concert performed by Tiento Nuovo and conducted by harpsichordist Ignacio Prego. The maestro and his disciple and other works by Johann Rosenmüller and Georg Muffat offer a broad picture of the German Baroque period, with vocal and instrumental works that may be little known but which are bound to arouse interest and admiration in equal amounts.
No programme of concerts on the theme of funeral music would be complete without Lament on the Death of Ferdinand III by Johann Heinrich Schmelzer, the Baroque composer and violinist and maestro of Heinrich Ignaz Franz von Biber, who is also featured at this concert performed by Tiento Nuovo and conducted by harpsichordist Ignacio Prego. The maestro and his disciple and other works by Johann Rosenmüller and Georg Muffat offer a broad picture of the German Baroque period, with vocal and instrumental works that may be little known but which are bound to arouse interest and admiration in equal amounts.
26
Apr
VICTORIA. RÈQUIEM
SANTA MARIA DEL PI
Wednesday, 26/04/2023 20:00
Wednesday, 26/04/2023 20:00
VICTORIA. RÈQUIEM
COR FRANCESC VALLS
SANTA MARIA DEL PI
Wednesday, 26/04/2023 20:00
A major work in the history of funeral music.
Such is the importance of Tomás Luis de Victoria’s work (1548-1611) that its relevance has survived through to today. Victoria, who was born in Avila, was one of Castile’s leading polyphonists. During a stay in Italy he became influenced by the Roman music of the day. On his return to Castile he forged a reputation as one of the most famous musicians of the period. King Felipe II appointed him the personal chaplain of his sister, Empress Maria of Austria and Portugal, who had entered the Convent of Las Descalzas Reales in Madrid when she became a widow. On her death in 1603, Victoria wrote this Officium defunctorum for a choir of six voices. Published two years later, it soon became famous. Victoria’s music featured in almost all the funeral services held in different places for the empress and, once the work had been published, he dedicated it to Margaret, Maria’s daughter, who had also withdrawn to the same convent in Madrid.
Such is the importance of Tomás Luis de Victoria’s work (1548-1611) that its relevance has survived through to today. Victoria, who was born in Avila, was one of Castile’s leading polyphonists. During a stay in Italy he became influenced by the Roman music of the day. On his return to Castile he forged a reputation as one of the most famous musicians of the period. King Felipe II appointed him the personal chaplain of his sister, Empress Maria of Austria and Portugal, who had entered the Convent of Las Descalzas Reales in Madrid when she became a widow. On her death in 1603, Victoria wrote this Officium defunctorum for a choir of six voices. Published two years later, it soon became famous. Victoria’s music featured in almost all the funeral services held in different places for the empress and, once the work had been published, he dedicated it to Margaret, Maria’s daughter, who had also withdrawn to the same convent in Madrid.
26
Apr
ANNA ROIG
SALA 2 - ORIOL MARTORELL
Wednesday, 26/04/2023 20:00
Wednesday, 26/04/2023 20:00
ANNA ROIG
APORTAR BELLESA AL MÓN
SALA 2 - ORIOL MARTORELL
Wednesday, 26/04/2023 20:00
27
Apr
SCHUBERT PIANO TRIOS
SALA 2 - ORIOL MARTORELL
Thursday, 27/04/2023 19:00
Thursday, 27/04/2023 19:00
SCHUBERT PIANO TRIOS
TRIO LUDWIG
SALA 2 - ORIOL MARTORELL
Thursday, 27/04/2023 19:00
Schumann said that the problems of our human existence disappear when we listen to Schubert's Trio in E-flat major.
Both the Piano Trio No 1 in B-flat major, D 898 and the Piano Trio in E-flat major, D 929 are pieces that Franz Schubert composed between 1827 and 1828, when he was already seriously ill, just a few months, in fact, before his death. Despite some touches of darkness, in general the first trio does not reflect the harshness of the composer’s personal situation. Robert Schumann said that, when we listen to Schubert’s Piano Trio in E-flat major, "the problems of our human existence disappear and the whole world is fresh and bright again”. The second trio, which is one of the few late works that Schubert actually heard performed, has a darker character, but contains passages of great lyricism and intensity. The influence of Beethoven's piano trios is palpable; nevertheless, Schubert’s style stands out. Unlike most piano trios of the time, these two works are considerably longer, lasting more than forty minutes.
Both the Piano Trio No 1 in B-flat major, D 898 and the Piano Trio in E-flat major, D 929 are pieces that Franz Schubert composed between 1827 and 1828, when he was already seriously ill, just a few months, in fact, before his death. Despite some touches of darkness, in general the first trio does not reflect the harshness of the composer’s personal situation. Robert Schumann said that, when we listen to Schubert’s Piano Trio in E-flat major, "the problems of our human existence disappear and the whole world is fresh and bright again”. The second trio, which is one of the few late works that Schubert actually heard performed, has a darker character, but contains passages of great lyricism and intensity. The influence of Beethoven's piano trios is palpable; nevertheless, Schubert’s style stands out. Unlike most piano trios of the time, these two works are considerably longer, lasting more than forty minutes.
MAAAMBO!!!
CONCERTS FAMILIARS 2022-2023
SALA 1 - PAU CASALS
Saturday, 29/04/2023 12:00
Pack your bags and accompany the musicians of the Barcelona Municipal Band on this journey through the rhythms of Latin America. From tango and salsa to mambo, danzón and cha cha cha.
A unique proposal directed by La Cubana!
A unique proposal directed by La Cubana!
29
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Saturday, 29/04/2023 12:00
Saturday, 29/04/2023 12:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 29/04/2023 12:00
29
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Saturday, 29/04/2023 17:00
Saturday, 29/04/2023 17:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 29/04/2023 17:00
30
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Sunday, 30/04/2023 10:30
Sunday, 30/04/2023 10:30
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 30/04/2023 10:30
WORKSHOP: MONSTERS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 30/04/2023 11:00
In this workshop, you will work with the music from the “Monsters” 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.
30
Apr
TUTTI FAN PIU
SALA 3 - TETE MONTOLIU
Sunday, 30/04/2023 12:00
Sunday, 30/04/2023 12:00
TUTTI FAN PIU
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 30/04/2023 12:00
WORKSHOP: MONSTERS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 30/04/2023 12:15
In this workshop, you will work with the music from the “Monsters” 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.
5
May
STRAUSS: EL CAVALLER DE LA ROSA
SALA 1 - PAU CASALS
Friday, 5/05/2023 19:00
Friday, 5/05/2023 19:00
STRAUSS: EL CAVALLER DE LA ROSA
Emmanuel Pahud i Juanjo Mena
SALA 1 - PAU CASALS
Friday, 5/05/2023 19:00
Waltzes, passions, humour and decadence in Vienna.
Strauss boldly set himself a genuine feat: to attempt to write opera after Wagner. The deep dramatic instinct and subtle use of psychology that can be denoted in this work, as was also the case of Elektra and later Ariadne auf Naxos, are the outcome of one of the most fruitful operatic collaborative initiatives in history, between Strauss and the poet Hugo von Hofmannsthal. In this case, its success confused the critics, when they heard a musical language “from the past”. Waltzes, passions, humour and decadence: the Vienna of Empress Maria Theresa I of Austria conserves all its splendour in this suite for orchestra.
Blancafort stood out for his distinctive hallmark among 20th century Catalan composers. Despite the importance of his works for piano, his orchestral music, which he turned to after the Spanish Civil War, is less well known. His Symphony in E major, premiered by Eduard Toldrà and conspicuous for its clarity and classical forms, was awarded the Premio Ciudad de Barcelona in 1950. It is a work that clearly deserves to go down in the annals of Spain’s symphonic works.
Music for Flute, Strings and Percussion is one of the most important orchestral works by Sofia Gubaidulina. This Russian composer has an amazing capacity to create evocative musical atmospheres and, in this work, she does it with subtlety, using unorthodox techniques and working with dense textures by exploring the timbral quality of the flute, strings and percussion.
Strauss boldly set himself a genuine feat: to attempt to write opera after Wagner. The deep dramatic instinct and subtle use of psychology that can be denoted in this work, as was also the case of Elektra and later Ariadne auf Naxos, are the outcome of one of the most fruitful operatic collaborative initiatives in history, between Strauss and the poet Hugo von Hofmannsthal. In this case, its success confused the critics, when they heard a musical language “from the past”. Waltzes, passions, humour and decadence: the Vienna of Empress Maria Theresa I of Austria conserves all its splendour in this suite for orchestra.
Blancafort stood out for his distinctive hallmark among 20th century Catalan composers. Despite the importance of his works for piano, his orchestral music, which he turned to after the Spanish Civil War, is less well known. His Symphony in E major, premiered by Eduard Toldrà and conspicuous for its clarity and classical forms, was awarded the Premio Ciudad de Barcelona in 1950. It is a work that clearly deserves to go down in the annals of Spain’s symphonic works.
Music for Flute, Strings and Percussion is one of the most important orchestral works by Sofia Gubaidulina. This Russian composer has an amazing capacity to create evocative musical atmospheres and, in this work, she does it with subtlety, using unorthodox techniques and working with dense textures by exploring the timbral quality of the flute, strings and percussion.
5
May
ZA! & La TransUltraMegaCobla
SALA 2 - ORIOL MARTORELL
Friday, 5/05/2023 20:00
Friday, 5/05/2023 20:00
ZA! & La TransUltraMegaCobla
SALA 2 - ORIOL MARTORELL
Friday, 5/05/2023 20:00
6
May
STRAUSS: EL CAVALLER DE LA ROSA
SALA 1 - PAU CASALS
Saturday, 6/05/2023 19:00
Saturday, 6/05/2023 19:00
STRAUSS: EL CAVALLER DE LA ROSA
Emmanuel Pahud i Juanjo Mena
SALA 1 - PAU CASALS
Saturday, 6/05/2023 19:00
Waltzes, passions, humour and decadence in Vienna.
Strauss boldly set himself a genuine feat: to attempt to write opera after Wagner. The deep dramatic instinct and subtle use of psychology that can be denoted in this work, as was also the case of Elektra and later Ariadne auf Naxos, are the outcome of one of the most fruitful operatic collaborative initiatives in history, between Strauss and the poet Hugo von Hofmannsthal. In this case, its success confused the critics, when they heard a musical language “from the past”. Waltzes, passions, humour and decadence: the Vienna of Empress Maria Theresa I of Austria conserves all its splendour in this suite for orchestra.
Blancafort stood out for his distinctive hallmark among 20th century Catalan composers. Despite the importance of his works for piano, his orchestral music, which he turned to after the Spanish Civil War, is less well known. His Symphony in E major, premiered by Eduard Toldrà and conspicuous for its clarity and classical forms, was awarded the Premio Ciudad de Barcelona in 1950. It is a work that clearly deserves to go down in the annals of Spain’s symphonic works.
Music for Flute, Strings and Percussion is one of the most important orchestral works by Sofia Gubaidulina. This Russian composer has an amazing capacity to create evocative musical atmospheres and, in this work, she does it with subtlety, using unorthodox techniques and working with dense textures by exploring the timbral quality of the flute, strings and percussion.
Strauss boldly set himself a genuine feat: to attempt to write opera after Wagner. The deep dramatic instinct and subtle use of psychology that can be denoted in this work, as was also the case of Elektra and later Ariadne auf Naxos, are the outcome of one of the most fruitful operatic collaborative initiatives in history, between Strauss and the poet Hugo von Hofmannsthal. In this case, its success confused the critics, when they heard a musical language “from the past”. Waltzes, passions, humour and decadence: the Vienna of Empress Maria Theresa I of Austria conserves all its splendour in this suite for orchestra.
Blancafort stood out for his distinctive hallmark among 20th century Catalan composers. Despite the importance of his works for piano, his orchestral music, which he turned to after the Spanish Civil War, is less well known. His Symphony in E major, premiered by Eduard Toldrà and conspicuous for its clarity and classical forms, was awarded the Premio Ciudad de Barcelona in 1950. It is a work that clearly deserves to go down in the annals of Spain’s symphonic works.
Music for Flute, Strings and Percussion is one of the most important orchestral works by Sofia Gubaidulina. This Russian composer has an amazing capacity to create evocative musical atmospheres and, in this work, she does it with subtlety, using unorthodox techniques and working with dense textures by exploring the timbral quality of the flute, strings and percussion.
6
May
COBLA SANT JORDI I COBLA MARINADA
SALA 2 - ORIOL MARTORELL
Saturday, 6/05/2023 19:00
Saturday, 6/05/2023 19:00
COBLA SANT JORDI I COBLA MARINADA
FESTIVAL DE COBLA
SALA 2 - ORIOL MARTORELL
Saturday, 6/05/2023 19:00
WORKSHOP: MONSTERS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 7/05/2023 11:00
In this workshop, you will work with the music from the “Monsters” 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.
WORKSHOP: MONSTERS
CONCERTS FAMILIARS 2022-2023
ESPAI 5
Sunday, 7/05/2023 12:15
In this workshop, you will work with the music from the “Monsters” 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.
7
May
LA MÚSICA DE HARRY POTTER
SALA 1 - PAU CASALS
Sunday, 7/05/2023 18:00
Sunday, 7/05/2023 18:00
LA MÚSICA DE HARRY POTTER
John Williams i Alexander Desplat
SALA 1 - PAU CASALS
Sunday, 7/05/2023 18:00
The novels featuring young magician Harry Potter, a pupil at Hogwarts School of Witchcraft and Wizardry, achieved immense popularity among children and teenagers in the first decade of this century. Following the success of the books, the stories were turned into a film series by Warner Bros. The cinema version also enjoyed unprecedented success: Harry Potter and the Philosopher’s Stone and the two parts of Harry Potter and the Deathly Hallows are among the fifty greatest box office successes of all time. The saga’s soundtrack was entrusted to John Williams, Patrick Doyle, Nicholas Hooper and Alexander Desplat. The mood of the music reflects the events and characters in each film, from Williams’s magnificent “Harry’s Wondrous World” to the dark atmosphere of “Courtyard Apocalypse” and the vibrant rhythm of “Voldemort’s End” by Desplat. This concert is a great opportunity to hear music that does not really require images: it has a character of its own and transports us to a fascinating world of sound.
8
May
PROKÓFIEV: VIOLIN SONATA
SALA 4 - ALICIA DE LARROCHA
Monday, 8/05/2023 19:00
Monday, 8/05/2023 19:00
PROKÓFIEV: VIOLIN SONATA
LANA TROTOVSEK i MARIA CANYIGUERAL
SALA 4 - ALICIA DE LARROCHA
Monday, 8/05/2023 19:00
Trotovšek and Canyigueral perform one of Prokofiev's great violin sonatas.
Sergei Prokofiev composed the Sonata No. 2 in D major, Op. 94 for flute and piano, but a year later he transcribed it for violin and piano at the request of his violinist friend David Oistrakh. It is structured in four movements: the first in the form of a sonata, the second a scherzo, the third an andante that presents a violin melody with jazz touches, and a final movement that begins with a festive air but gradually darkens.
In Chaconne, Sofia Gubaidulina creates seven variations from an initial harmonic progression, typical of the baroque folk dance -the chaconne. It recovers the main theme in the final coda. One of Gubaidulina’s early compositions, Chaconne focuses mainly on the piano. In Fid’l, Jordi Cervelló also explores the technique of variation: in this case, he proposes six variations on a popular Jewish theme. Conversely, Profili uman is a collection of nine capricci - later included in the collection of 24 capricci for violin - in which Cervelló portrays various typical human characters, such as the shy, the enamoured, the ironic and the mocked.
Sergei Prokofiev composed the Sonata No. 2 in D major, Op. 94 for flute and piano, but a year later he transcribed it for violin and piano at the request of his violinist friend David Oistrakh. It is structured in four movements: the first in the form of a sonata, the second a scherzo, the third an andante that presents a violin melody with jazz touches, and a final movement that begins with a festive air but gradually darkens.
In Chaconne, Sofia Gubaidulina creates seven variations from an initial harmonic progression, typical of the baroque folk dance -the chaconne. It recovers the main theme in the final coda. One of Gubaidulina’s early compositions, Chaconne focuses mainly on the piano. In Fid’l, Jordi Cervelló also explores the technique of variation: in this case, he proposes six variations on a popular Jewish theme. Conversely, Profili uman is a collection of nine capricci - later included in the collection of 24 capricci for violin - in which Cervelló portrays various typical human characters, such as the shy, the enamoured, the ironic and the mocked.
11
May
TABLA - IN TABLA
SALA 3 - TETE MONTOLIU
Thursday, 11/05/2023 20:00
Thursday, 11/05/2023 20:00
TABLA - IN TABLA
NITI RANJAN BISWAS & RÉMI DURUPT
SALA 3 - TETE MONTOLIU
Thursday, 11/05/2023 20:00
In tabla uses Rumbau’s electronic base as a score for Rémi Durupt.
The gap between Western music and music from other latitudes has led to discourse of all kinds, often imbued with certain political stances. This discourse ranges from ethnographic debate, grounded for many years in comparisons between “us” and “them”, to the appropriation and analysis of sounds from outside Western music. Octavi Rumbau has fused the tabla with electronic music. His work, which is devoid of any ritual connotations or reverence, is based on collaboration with researcher Ajay Srinivasamurthy, from Pompeu Fabra University’s Music Technology Group, and percussionist Rémi Durupt. To systematise the possibilities open to them, an acoustic analysis was made of different bols (the possible sounds that can be made on a tabla). The main aim was to find a balance between performative freedom and the limitations involved in pre-recorded electronic music, a support that cannot be modified. The solution, according to Rumbau, was for “the electronic sounds to become ‘the score’” to which the performer reacts through guided improvisation. Niti Ranjan Biswas rounds off the concert with a sample of traditional Hindu music for solo tabla.
The gap between Western music and music from other latitudes has led to discourse of all kinds, often imbued with certain political stances. This discourse ranges from ethnographic debate, grounded for many years in comparisons between “us” and “them”, to the appropriation and analysis of sounds from outside Western music. Octavi Rumbau has fused the tabla with electronic music. His work, which is devoid of any ritual connotations or reverence, is based on collaboration with researcher Ajay Srinivasamurthy, from Pompeu Fabra University’s Music Technology Group, and percussionist Rémi Durupt. To systematise the possibilities open to them, an acoustic analysis was made of different bols (the possible sounds that can be made on a tabla). The main aim was to find a balance between performative freedom and the limitations involved in pre-recorded electronic music, a support that cannot be modified. The solution, according to Rumbau, was for “the electronic sounds to become ‘the score’” to which the performer reacts through guided improvisation. Niti Ranjan Biswas rounds off the concert with a sample of traditional Hindu music for solo tabla.
PROKÓFIEV 7
Jordi Francés
SALA 1 - PAU CASALS
Friday, 12/05/2023 19:00
The final work of one of Russia’s great symphony composers.
Of all Sergei Prokofiev’s seven symphonies, the last one stands out for its look back at the past, returning to his first Soviet stage. Taking advantage of his long symphonic experience, Prokofiev simplified the score of his final symphony, overlaying it with the inspired melodies that were typical of the composer. It is a work that earned him national recognition after problematic years when Socialist realism prevailed. The symphony was premiered in Moscow just a few months before his death: the final work of one of Russia’s leading 20th century symphony composers.
Felip Pedrell’s influence transcends his work as a musicologist and teacher, with pupils who include some of the foremost names in Spanish and Catalan music. This is illustrated by the period most closely devoted to music for voice and piano, stage and orchestra, inspired by trips to France and Italy and leading to symphonic poems like I trionfi (Triumphs).This work, of an almost unprecedented kind in Spain, was fuelled by a creative urge, despite his awareness that he would not live to hear it performed. The first of the three trionfi is the Trionfo d’amore (Triumph of Love), divided into three parts: “Le ombre e gli spiriti” (The Shadows and Spirits), “Madrigale” (Madrigal) and “Estasi d’amore” (The Ectasy of Love).
Of all Sergei Prokofiev’s seven symphonies, the last one stands out for its look back at the past, returning to his first Soviet stage. Taking advantage of his long symphonic experience, Prokofiev simplified the score of his final symphony, overlaying it with the inspired melodies that were typical of the composer. It is a work that earned him national recognition after problematic years when Socialist realism prevailed. The symphony was premiered in Moscow just a few months before his death: the final work of one of Russia’s leading 20th century symphony composers.
Felip Pedrell’s influence transcends his work as a musicologist and teacher, with pupils who include some of the foremost names in Spanish and Catalan music. This is illustrated by the period most closely devoted to music for voice and piano, stage and orchestra, inspired by trips to France and Italy and leading to symphonic poems like I trionfi (Triumphs).This work, of an almost unprecedented kind in Spain, was fuelled by a creative urge, despite his awareness that he would not live to hear it performed. The first of the three trionfi is the Trionfo d’amore (Triumph of Love), divided into three parts: “Le ombre e gli spiriti” (The Shadows and Spirits), “Madrigale” (Madrigal) and “Estasi d’amore” (The Ectasy of Love).
PROKÓFIEV 7
Jordi Francés
SALA 1 - PAU CASALS
Saturday, 13/05/2023 19:00
The final work of one of Russia’s great symphony composers.
Of all Sergei Prokofiev’s seven symphonies, the last one stands out for its look back at the past, returning to his first Soviet stage. Taking advantage of his long symphonic experience, Prokofiev simplified the score of his final symphony, overlaying it with the inspired melodies that were typical of the composer. It is a work that earned him national recognition after problematic years when Socialist realism prevailed. The symphony was premiered in Moscow just a few months before his death: the final work of one of Russia’s leading 20th century symphony composers.
Felip Pedrell’s influence transcends his work as a musicologist and teacher, with pupils who include some of the foremost names in Spanish and Catalan music. This is illustrated by the period most closely devoted to music for voice and piano, stage and orchestra, inspired by trips to France and Italy and leading to symphonic poems like I trionfi (Triumphs).This work, of an almost unprecedented kind in Spain, was fuelled by a creative urge, despite his awareness that he would not live to hear it performed. The first of the three trionfi is the Trionfo d’amore (Triumph of Love), divided into three parts: “Le ombre e gli spiriti” (The Shadows and Spirits), “Madrigale” (Madrigal) and “Estasi d’amore” (The Ectasy of Love).
Of all Sergei Prokofiev’s seven symphonies, the last one stands out for its look back at the past, returning to his first Soviet stage. Taking advantage of his long symphonic experience, Prokofiev simplified the score of his final symphony, overlaying it with the inspired melodies that were typical of the composer. It is a work that earned him national recognition after problematic years when Socialist realism prevailed. The symphony was premiered in Moscow just a few months before his death: the final work of one of Russia’s leading 20th century symphony composers.
Felip Pedrell’s influence transcends his work as a musicologist and teacher, with pupils who include some of the foremost names in Spanish and Catalan music. This is illustrated by the period most closely devoted to music for voice and piano, stage and orchestra, inspired by trips to France and Italy and leading to symphonic poems like I trionfi (Triumphs).This work, of an almost unprecedented kind in Spain, was fuelled by a creative urge, despite his awareness that he would not live to hear it performed. The first of the three trionfi is the Trionfo d’amore (Triumph of Love), divided into three parts: “Le ombre e gli spiriti” (The Shadows and Spirits), “Madrigale” (Madrigal) and “Estasi d’amore” (The Ectasy of Love).
14
May
MORT I LLEGENDA
SALA 1 - PAU CASALS
Sunday, 14/05/2023 18:00
Sunday, 14/05/2023 18:00
MORT I LLEGENDA
Jose Franch-Ballester i José R. Pascual-Vilaplana
SALA 1 - PAU CASALS
Sunday, 14/05/2023 18:00
Art often attempts to explain what is incomprehensible or inscrutable. Belgian composer Bert Appermont composed A Brussels Requiem just after the terrorist attack the city suffered in March 2016. The four movements depict in music the range of emotions that affect us after a disaster of this magnitude: from anguish and rage to the deepest grief. In the second part of the concert, José R. Pascual-Vilaplana conducts the world premiere of a work by Appermont, a piece commissioned in connection with this season’s portrait of an artist tribute by the Band.
Leyendas, by Oscar Navarro, a composer from Alicante with an international reputation, is much more than a spectacular concerto for clarinet. It invites the audience to immerse themselves in an experience involving theatre, music and video-art. Dedicated to clarinettist Jose Franch-Ballester, it presents three narratives that are full of mystery, through which the audience discover a monastery that has been burnt down, an enigmatic circus and a princess who is under a spell.
Leyendas, by Oscar Navarro, a composer from Alicante with an international reputation, is much more than a spectacular concerto for clarinet. It invites the audience to immerse themselves in an experience involving theatre, music and video-art. Dedicated to clarinettist Jose Franch-Ballester, it presents three narratives that are full of mystery, through which the audience discover a monastery that has been burnt down, an enigmatic circus and a princess who is under a spell.
18
May
MISSA SOLEMNIS DE BEETHOVEN
SALA 1 - PAU CASALS
Thursday, 18/05/2023 19:00
Thursday, 18/05/2023 19:00
MISSA SOLEMNIS DE BEETHOVEN
EL SO ORIGINAL. JORDI SAVALL
SALA 1 - PAU CASALS
Thursday, 18/05/2023 19:00
Beethoven reaffirms his faith through a cry of hope for humanity.
Following his performances of Beethoven’s symphonies, Jordi Savall will present one of the masterpieces in the history of choral symphonies, the Bonn composer’s Missa solemnis. The composer wrote it to celebrate the bishopric granted to Emperor Leopold II’s son, Archduke Rudolf. Written at more or less the same time as his 9th Symphony, it approaches Catholic mass from a “human, all too human” perspective, to borrow a term from Nietzsche. Beethoven reaffirms his faith through a cry for hope for humanity, without relinquishing belief in a higher power. Hence, this work has nothing in common with a “theatrical” mass, because Beethoven manages to imbue it with his own spirituality, exploring the full potential of the human voice through the choir and pushing the limits of register in an extremely arduous work for the choir, soloists, musicians and conductor.
Following his performances of Beethoven’s symphonies, Jordi Savall will present one of the masterpieces in the history of choral symphonies, the Bonn composer’s Missa solemnis. The composer wrote it to celebrate the bishopric granted to Emperor Leopold II’s son, Archduke Rudolf. Written at more or less the same time as his 9th Symphony, it approaches Catholic mass from a “human, all too human” perspective, to borrow a term from Nietzsche. Beethoven reaffirms his faith through a cry for hope for humanity, without relinquishing belief in a higher power. Hence, this work has nothing in common with a “theatrical” mass, because Beethoven manages to imbue it with his own spirituality, exploring the full potential of the human voice through the choir and pushing the limits of register in an extremely arduous work for the choir, soloists, musicians and conductor.
20
May
MONSTRES
SALA 2 - ORIOL MARTORELL
Saturday, 20/05/2023 12:00
Saturday, 20/05/2023 12:00
MONSTRES
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 20/05/2023 12:00
20
May
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 20/05/2023 16:00
Saturday, 20/05/2023 16:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 20/05/2023 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.
20
May
MONSTRES
SALA 2 - ORIOL MARTORELL
Saturday, 20/05/2023 17:00
Saturday, 20/05/2023 17:00
MONSTRES
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Saturday, 20/05/2023 17:00
20
May
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Saturday, 20/05/2023 17:15
Saturday, 20/05/2023 17:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 20/05/2023 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.
PROKÓFIEV 5
Javier Perianes i Elim Chan
SALA 1 - PAU CASALS
Saturday, 20/05/2023 19:00
A musical testimony to Russia’s victory over Nazi Germany.
Symphony No. 5 is the most highly praised of the seven symphonies that Sergei Prokofiev wrote. This dramatic, epic work represented a dual comeback: on the one hand, it was the first symphony that he had written in 15 years after his No. 4 and, secondly, he was returning to the Soviet Union after living in the United States. Following its premiere in Moscow at a key moment in Soviet history, it was seen as a musical testimony to Russia’s victory over Nazi Germany. According to Sviatoslav Richter, “When Prokofiev climbed onto the podium and silence fell in the concert hall, a gun salute suddenly sounded. He waited and started once the firing had stopped”.
Mozart and Saint-Saëns are the two influences that Maurice Ravel mentioned in reference to his Piano Concerto in G major. In it, he modified the orchestral presence in order to surround the piano, displaying high technical skills in terms of the percussion and melody, with the creation of a spellbinding atmosphere. We witness a mix of influences, from jazz to classical forms, in one of the most inspired piano concertos from the 20th century.
Subito con forza is a recent creation by Unsuk Chin, a Korean composer who has been singled out to receive numerous distinctions and who has collaborated with conductors of international acclaim. A short piece built on intertextuality, it is inspired by the composer’s personal reading of Beethoven and, indeed, it opens with a reference to his Coriolan Overture.
Symphony No. 5 is the most highly praised of the seven symphonies that Sergei Prokofiev wrote. This dramatic, epic work represented a dual comeback: on the one hand, it was the first symphony that he had written in 15 years after his No. 4 and, secondly, he was returning to the Soviet Union after living in the United States. Following its premiere in Moscow at a key moment in Soviet history, it was seen as a musical testimony to Russia’s victory over Nazi Germany. According to Sviatoslav Richter, “When Prokofiev climbed onto the podium and silence fell in the concert hall, a gun salute suddenly sounded. He waited and started once the firing had stopped”.
Mozart and Saint-Saëns are the two influences that Maurice Ravel mentioned in reference to his Piano Concerto in G major. In it, he modified the orchestral presence in order to surround the piano, displaying high technical skills in terms of the percussion and melody, with the creation of a spellbinding atmosphere. We witness a mix of influences, from jazz to classical forms, in one of the most inspired piano concertos from the 20th century.
Subito con forza is a recent creation by Unsuk Chin, a Korean composer who has been singled out to receive numerous distinctions and who has collaborated with conductors of international acclaim. A short piece built on intertextuality, it is inspired by the composer’s personal reading of Beethoven and, indeed, it opens with a reference to his Coriolan Overture.
21
May
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 10:00
Sunday, 21/05/2023 10:00
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 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.
PROKÓFIEV 5
Javier Perianes i Elim Chan
SALA 1 - PAU CASALS
Sunday, 21/05/2023 11:00
A musical testimony to Russia’s victory over Nazi Germany.
Symphony No. 5 is the most highly praised of the seven symphonies that Sergei Prokofiev wrote. This dramatic, epic work represented a dual comeback: on the one hand, it was the first symphony that he had written in 15 years after his No. 4 and, secondly, he was returning to the Soviet Union after living in the United States. Following its premiere in Moscow at a key moment in Soviet history, it was seen as a musical testimony to Russia’s victory over Nazi Germany. According to Sviatoslav Richter, “When Prokofiev climbed onto the podium and silence fell in the concert hall, a gun salute suddenly sounded. He waited and started once the firing had stopped”.
Mozart and Saint-Saëns are the two influences that Maurice Ravel mentioned in reference to his Piano Concerto in G major. In it, he modified the orchestral presence in order to surround the piano, displaying high technical skills in terms of the percussion and melody, with the creation of a spellbinding atmosphere. We witness a mix of influences, from jazz to classical forms, in one of the most inspired piano concertos from the 20th century.
Subito con forza is a recent creation by Unsuk Chin, a Korean composer who has been singled out to receive numerous distinctions and who has collaborated with conductors of international acclaim. A short piece built on intertextuality, it is inspired by the composer’s personal reading of Beethoven and, indeed, it opens with a reference to his Coriolan Overture.
Symphony No. 5 is the most highly praised of the seven symphonies that Sergei Prokofiev wrote. This dramatic, epic work represented a dual comeback: on the one hand, it was the first symphony that he had written in 15 years after his No. 4 and, secondly, he was returning to the Soviet Union after living in the United States. Following its premiere in Moscow at a key moment in Soviet history, it was seen as a musical testimony to Russia’s victory over Nazi Germany. According to Sviatoslav Richter, “When Prokofiev climbed onto the podium and silence fell in the concert hall, a gun salute suddenly sounded. He waited and started once the firing had stopped”.
Mozart and Saint-Saëns are the two influences that Maurice Ravel mentioned in reference to his Piano Concerto in G major. In it, he modified the orchestral presence in order to surround the piano, displaying high technical skills in terms of the percussion and melody, with the creation of a spellbinding atmosphere. We witness a mix of influences, from jazz to classical forms, in one of the most inspired piano concertos from the 20th century.
Subito con forza is a recent creation by Unsuk Chin, a Korean composer who has been singled out to receive numerous distinctions and who has collaborated with conductors of international acclaim. A short piece built on intertextuality, it is inspired by the composer’s personal reading of Beethoven and, indeed, it opens with a reference to his Coriolan Overture.
21
May
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 11:15
Sunday, 21/05/2023 11:15
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 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.
MONSTRES
CONCERTS FAMILIARS 2022-2023
SALA 2 - ORIOL MARTORELL
Sunday, 21/05/2023 12:00
21
May
CONCERT PER A NADONS
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 12:30
Sunday, 21/05/2023 12:30
CONCERT PER A NADONS
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 21/05/2023 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.
23
May
(UN)FOLDING STRINGS
MUSEU DE LA MÚSICA (SALA DE TECLATS)
Tuesday, 23/05/2023 20:00
Tuesday, 23/05/2023 20:00
(UN)FOLDING STRINGS
DIEGO CAICEDO, LUIS CODERA PUZO & FERRAN FAGES
MUSEU DE LA MÚSICA (SALA DE TECLATS)
Tuesday, 23/05/2023 20:00
MAHLER 5
Ludovic Morlot
SALA 1 - PAU CASALS
Friday, 26/05/2023 19:00
From Mahler’s adagietto to Pesson’s post-modern review.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
26
May
TONI VAQUER
SALA 2 - ORIOL MARTORELL
Friday, 26/05/2023 20:00
Friday, 26/05/2023 20:00
TONI VAQUER
LA FI DELS TEMPS
SALA 2 - ORIOL MARTORELL
Friday, 26/05/2023 20:00
Free reinvention of a quartet written in captivity.
Majorcan pianist Toni Vaquer returns, leading a small orchestra of improvisers to rediscover Olivier Messiaen’s anguish and hope, in his best known quartet. Vaquer adds voices and the freedom of improvisation. This treatment of the piece as a democratic musical artifact is in ironic contrast with the circumstances in which it was composed, during Messiaen’s captivity in a German concentration camp during the Second World War. Vaquer, who has, over the years, come to the fore as a composer and director of improvised works, emphasised the “beauty, desperation and strong emotions” of the piece. The ability to transgress the original is the best antidote to the warning in the title.
Majorcan pianist Toni Vaquer returns, leading a small orchestra of improvisers to rediscover Olivier Messiaen’s anguish and hope, in his best known quartet. Vaquer adds voices and the freedom of improvisation. This treatment of the piece as a democratic musical artifact is in ironic contrast with the circumstances in which it was composed, during Messiaen’s captivity in a German concentration camp during the Second World War. Vaquer, who has, over the years, come to the fore as a composer and director of improvised works, emphasised the “beauty, desperation and strong emotions” of the piece. The ability to transgress the original is the best antidote to the warning in the title.
MAHLER 5
Ludovic Morlot
SALA 1 - PAU CASALS
Saturday, 27/05/2023 19:00
From Mahler’s adagietto to Pesson’s post-modern review.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
MAHLER 5
Ludovic Morlot
SALA 1 - PAU CASALS
Sunday, 28/05/2023 11:00
From Mahler’s adagietto to Pesson’s post-modern review.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
At a moment that marked a highpoint in Central European Romanticism, Gustav Mahler–the man who eluded all early 20th century “isms” and redefined the concept of symphonies–united a funeral march with folksongs, dance and even embryonic Expressionism in his Symphony No. 5. A symphonic jigsaw puzzle to which he returned time and time again, it is now a staple in concert halls throughout the world. Aside from its huge popularity, in the words of critic Paul Bekker, it contains some of the most magnificent passages from the history of music.
Aggravations et final is a deep reflection on time, finiteness and the human condition, achieved through form and musical material. Gérard Pesson is one of the most outstanding French avant-garde composers, and this piece for orchestra is a fine example of his skills and approach to music, characterised in this last case by a subtle exploration of highly personal, sophisticated sounds, inspired, in turn, by hidden references and musical quotes, from Bruckner to Messiaen or to the famous adagietto from Mahler’s Symphony No. 5.
28
May
MESSIAEN: LA FI DELS TEMPS
SALA 2 - ORIOL MARTORELL
Sunday, 28/05/2023 19:00
Sunday, 28/05/2023 19:00
MESSIAEN: LA FI DELS TEMPS
BRAHMS 3
SALA 2 - ORIOL MARTORELL
Sunday, 28/05/2023 19:00
The Quatuor pour la fin du temps, composed by Messiaen in a Nazi concentration camp, is one of the most impressive pieces of chamber music of the 20th century.
The Sitkovetsky Trio and clarinetist Andreas Ottensamer will perform Olivier Messiaen’s Quatuor pour la fin du temps ( Quartet for the End of Time) (1941), which is inspired by a passage from the Apocalypse of St. John. This is one of the most impressive pieces of chamber music of the 20th century, especially considering that Olivier Messiaen composed it in a Nazi concentration camp. He met three other prisoners who were musicians; a clarinetist, a cellist and a violinist. This was the reason behind the rather unusual chamber ensemble. They premiered the work in front of a group of prisoners. “Never had I been listened to with so much attention and understanding,” said the composer. With death approaching, the power of music intensifies.
Maurice Ravel’s Piano Trio in A Minor (1914) is the last work that Ravel composed before becoming an ambulance driver for the French army. Ravel masterfully combines his obsession with formal perfection with his interest in the popular Basque tradition that he had nurtured since he was a child. The movement uses irregular rhythms similar to those of the zortziko dance rhythm and the third movement uses the form of the passacaille.
The Sitkovetsky Trio and clarinetist Andreas Ottensamer will perform Olivier Messiaen’s Quatuor pour la fin du temps ( Quartet for the End of Time) (1941), which is inspired by a passage from the Apocalypse of St. John. This is one of the most impressive pieces of chamber music of the 20th century, especially considering that Olivier Messiaen composed it in a Nazi concentration camp. He met three other prisoners who were musicians; a clarinetist, a cellist and a violinist. This was the reason behind the rather unusual chamber ensemble. They premiered the work in front of a group of prisoners. “Never had I been listened to with so much attention and understanding,” said the composer. With death approaching, the power of music intensifies.
Maurice Ravel’s Piano Trio in A Minor (1914) is the last work that Ravel composed before becoming an ambulance driver for the French army. Ravel masterfully combines his obsession with formal perfection with his interest in the popular Basque tradition that he had nurtured since he was a child. The movement uses irregular rhythms similar to those of the zortziko dance rhythm and the third movement uses the form of the passacaille.
1
Jun
CLÀSSICS DEL WESTERN
SALA 2 - ORIOL MARTORELL
Thursday, 1/06/2023 11:30
Thursday, 1/06/2023 11:30
CLÀSSICS DEL WESTERN
APROPA'T A LA BANDA
SALA 2 - ORIOL MARTORELL
Thursday, 1/06/2023 11:30
Westerns are much more than a film genre. They form part of an imaginary shared by various generations around the world, featuring iconic settings and scenes in saloon bars, gun duels and battles between cowboys and Indians. The soundtracks of these films have also become twentieth-century classics. They include Ennio Morricone’s compositions, which set a style of their own in the spaghetti western. Elmer Bernstein’s score for the Magnificent Seven was one of the best-known of the 1960s. Not long after this, John Williams composed the soundtrack for The Cowboys, starring John Wayne, a classic of the 1970s. And John Barry’s score for Dances with Wolves is undoubtedly one of the most popular late twentieth-century soundtracks. This very special concert also includes the suite written by Roque Baños for 800 balas by Álex de la Iglesia, a comedy paying tribute to the western.
7
Jun
ESMUC BIG BAND
SALA 2 - ORIOL MARTORELL
Wednesday, 7/06/2023 20:00
Wednesday, 7/06/2023 20:00
ESMUC BIG BAND
SALA 2 - ORIOL MARTORELL
Wednesday, 7/06/2023 20:00
8
Jun
OBC CAMBRA # 5
SALA 2 - ORIOL MARTORELL
Thursday, 8/06/2023 19:00
Thursday, 8/06/2023 19:00
OBC CAMBRA # 5
Trio Debussy & friends
SALA 2 - ORIOL MARTORELL
Thursday, 8/06/2023 19:00
9
Jun
VESSELIN STANEV
SALA 2 - ORIOL MARTORELL
Friday, 9/06/2023 19:30
Friday, 9/06/2023 19:30
VESSELIN STANEV
RECITAL PIANO
SALA 2 - ORIOL MARTORELL
Friday, 9/06/2023 19:30
17
Jun
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Saturday, 17/06/2023 12:00
Saturday, 17/06/2023 12:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 17/06/2023 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.
17
Jun
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Saturday, 17/06/2023 17:00
Saturday, 17/06/2023 17:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Saturday, 17/06/2023 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.
17
Jun
SOUVENIR
SALA 2 - ORIOL MARTORELL
Saturday, 17/06/2023 19:00
Saturday, 17/06/2023 19:00
SOUVENIR
LINDBERG BY LINDBERG
SALA 2 - ORIOL MARTORELL
Saturday, 17/06/2023 19:00
Finnish composer Magnus Lindberg conducts his work for ensemble.
The title of the first piece, Corrente will conjure up the Baroque period to music lovers. Indeed, its suggested links with a courante have a certain logic, since the title gives us some clues to the work. We will hear how an ostinato can be converted into a vibrant, obsessive leitmotif, better suited to combatting a sense of horror vacui. Souvenir (Memory) also feeds on the past: it is a kind of miniature symphony, both in terms of the number of performers and its division into movements, hence implying the deployment of sound in each one for dramatic purposes. The first movement has a very specific quality, emanating right from the outset through the blocks that open the piece. The second spurns the supposed tranquillity that its slower tempo ought to convey, and it is characterised by a certain disturbing treacle-like feel. In the third movement, timbral specificities are used as a nostalgic gesture. As Lindberg acknowledges, small ensembles have long been used as a test laboratory by many creators when they are unable to premiere work with orchestras. This is the case of this tribute to Gérard Grisey and to the Italian composer Franco Donatoni, from whose work of the same name, written in 1967, the title was taken.
The title of the first piece, Corrente will conjure up the Baroque period to music lovers. Indeed, its suggested links with a courante have a certain logic, since the title gives us some clues to the work. We will hear how an ostinato can be converted into a vibrant, obsessive leitmotif, better suited to combatting a sense of horror vacui. Souvenir (Memory) also feeds on the past: it is a kind of miniature symphony, both in terms of the number of performers and its division into movements, hence implying the deployment of sound in each one for dramatic purposes. The first movement has a very specific quality, emanating right from the outset through the blocks that open the piece. The second spurns the supposed tranquillity that its slower tempo ought to convey, and it is characterised by a certain disturbing treacle-like feel. In the third movement, timbral specificities are used as a nostalgic gesture. As Lindberg acknowledges, small ensembles have long been used as a test laboratory by many creators when they are unable to premiere work with orchestras. This is the case of this tribute to Gérard Grisey and to the Italian composer Franco Donatoni, from whose work of the same name, written in 1967, the title was taken.
18
Jun
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Sunday, 18/06/2023 10:30
Sunday, 18/06/2023 10:30
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 18/06/2023 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.
18
Jun
SONETS DE JOGUINA
SALA 3 - TETE MONTOLIU
Sunday, 18/06/2023 12:00
Sunday, 18/06/2023 12:00
SONETS DE JOGUINA
CONCERTS FAMILIARS 2022-2023
SALA 3 - TETE MONTOLIU
Sunday, 18/06/2023 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.
29
Jun
SCHUBERT: INACABADA
SALA 1 - PAU CASALS
Thursday, 29/06/2023 19:00
Thursday, 29/06/2023 19:00
SCHUBERT: INACABADA
FESTIVAL MOZART - NITS D'ESTIU
SALA 1 - PAU CASALS
Thursday, 29/06/2023 19:00
Franz Schubert’s major symphony, reflecting a talent that was much envied by Richard Strauss.
The two movements known today as the Unfinished Symphony are one of Franz Schubert’s most popular symphonic works, and the symphony marks a turning point in the history of the genre, breaking classical moulds. As with other symphonies, it was not the Viennese composer’s death that interrupted it, since he abandoned the project six years before he died. A work contemporary with his major song cycle Die schöne Müllerin (The Lovely Miller Maiden), Schubert never lived to hear it. The symphony opens with a long movement, built on extensive linked up phrases, giving rise to a broad spectrum of atmospheres and effects while also highlighting the inexplicable talent that Richard Strauss so envied.
Idomeneo marks a turning point in Wolfgang Amadeus Mozart’s operas. A work commissioned by the Bavarian court, the composer held it in high esteem despite the tortuous process that led to its creation. Its music illustrates Mozart’s rich wealth of ideas and his skill at sketching characters and situations, governed by human fate and marked by death.
The Australian Brett Dean has achieved international recognition over the last two decades in the form of awards and commissioned works. Carlo is his most widely performed work, a symphony based on a creative new look at the life and music of Carlo Gesualdo, the great Renaissance madrigal composer.
F. J. Haydn’s Cello Concerto No. 1 is one of the most famous concertos written for this instrument and a mainstay for many performers. A work written in his youth, it nonetheless reveals the Austrian maestro’s solid skills.
The two movements known today as the Unfinished Symphony are one of Franz Schubert’s most popular symphonic works, and the symphony marks a turning point in the history of the genre, breaking classical moulds. As with other symphonies, it was not the Viennese composer’s death that interrupted it, since he abandoned the project six years before he died. A work contemporary with his major song cycle Die schöne Müllerin (The Lovely Miller Maiden), Schubert never lived to hear it. The symphony opens with a long movement, built on extensive linked up phrases, giving rise to a broad spectrum of atmospheres and effects while also highlighting the inexplicable talent that Richard Strauss so envied.
Idomeneo marks a turning point in Wolfgang Amadeus Mozart’s operas. A work commissioned by the Bavarian court, the composer held it in high esteem despite the tortuous process that led to its creation. Its music illustrates Mozart’s rich wealth of ideas and his skill at sketching characters and situations, governed by human fate and marked by death.
The Australian Brett Dean has achieved international recognition over the last two decades in the form of awards and commissioned works. Carlo is his most widely performed work, a symphony based on a creative new look at the life and music of Carlo Gesualdo, the great Renaissance madrigal composer.
F. J. Haydn’s Cello Concerto No. 1 is one of the most famous concertos written for this instrument and a mainstay for many performers. A work written in his youth, it nonetheless reveals the Austrian maestro’s solid skills.
5
Jul
MOZART: RÈQUIEM
SALA 1 - PAU CASALS
Wednesday, 5/07/2023 19:00
Wednesday, 5/07/2023 19:00
MOZART: RÈQUIEM
FESTIVAL MOZART - NITS D'ESTIU
SALA 1 - PAU CASALS
Wednesday, 5/07/2023 19:00
Death, W. A. Mozart’s unresolved issue.
Requiem in D Minor, a work of legendary fame, marks a highpoint in W. A. Mozart’s late period dedicated to sacred music. A work that went unfinished due to the composer’s premature death, it is an autobiographical testimony to the composer, over and beyond his treatment of the themes of death and Divine Judgement. Mozart’s use of dramatic action breathes new life into this sacred genre, with a sound that shines out to create a powerfully intense experience. His disciple Franz Xaver Süssmayr, who had already assisted him with other contemporary works such as The Magic Flute and The Clemency of Titus, finished off the requiem: a work with some pending issues since Mozart posed the question of death, but it still remains unresolved.
Mozart’s famous Symphony No. 40 stands out among his last three symphonies and among all those that he wrote in Vienna for its masterly use of wind instruments in the orchestral texture and for its bold harmonics, which are unique to this work. This masterpiece contains all the promise and heralds all the potential that would later be reflected in Romantic symphonies.
Despite the brevity of this motet on the death of God made man, Ave verum corpus is considered to be “the most sublime work of art ever written by Mozart” in the opinion of leading 20th expert in Mozart, Bernhard Paumgartner.
Requiem in D Minor, a work of legendary fame, marks a highpoint in W. A. Mozart’s late period dedicated to sacred music. A work that went unfinished due to the composer’s premature death, it is an autobiographical testimony to the composer, over and beyond his treatment of the themes of death and Divine Judgement. Mozart’s use of dramatic action breathes new life into this sacred genre, with a sound that shines out to create a powerfully intense experience. His disciple Franz Xaver Süssmayr, who had already assisted him with other contemporary works such as The Magic Flute and The Clemency of Titus, finished off the requiem: a work with some pending issues since Mozart posed the question of death, but it still remains unresolved.
Mozart’s famous Symphony No. 40 stands out among his last three symphonies and among all those that he wrote in Vienna for its masterly use of wind instruments in the orchestral texture and for its bold harmonics, which are unique to this work. This masterpiece contains all the promise and heralds all the potential that would later be reflected in Romantic symphonies.
Despite the brevity of this motet on the death of God made man, Ave verum corpus is considered to be “the most sublime work of art ever written by Mozart” in the opinion of leading 20th expert in Mozart, Bernhard Paumgartner.
6
Jul
MOZART: RÈQUIEM
SALA 1 - PAU CASALS
Thursday, 6/07/2023 19:00
Thursday, 6/07/2023 19:00
MOZART: RÈQUIEM
FESTIVAL MOZART - NITS D'ESTIU
SALA 1 - PAU CASALS
Thursday, 6/07/2023 19:00
Death, W. A. Mozart’s unresolved issue.
Requiem in D Minor, a work of legendary fame, marks a highpoint in W. A. Mozart’s late period dedicated to sacred music. A work that went unfinished due to the composer’s premature death, it is an autobiographical testimony to the composer, over and beyond his treatment of the themes of death and Divine Judgement. Mozart’s use of dramatic action breathes new life into this sacred genre, with a sound that shines out to create a powerfully intense experience. His disciple Franz Xaver Süssmayr, who had already assisted him with other contemporary works such as The Magic Flute and The Clemency of Titus, finished off the requiem: a work with some pending issues since Mozart posed the question of death, but it still remains unresolved.
Mozart’s famous Symphony No. 40 stands out among his last three symphonies and among all those that he wrote in Vienna for its masterly use of wind instruments in the orchestral texture and for its bold harmonics, which are unique to this work. This masterpiece contains all the promise and heralds all the potential that would later be reflected in Romantic symphonies.
Despite the brevity of this motet on the death of God made man, Ave verum corpus is considered to be “the most sublime work of art ever written by Mozart” in the opinion of leading 20th expert in Mozart, Bernhard Paumgartner.
Requiem in D Minor, a work of legendary fame, marks a highpoint in W. A. Mozart’s late period dedicated to sacred music. A work that went unfinished due to the composer’s premature death, it is an autobiographical testimony to the composer, over and beyond his treatment of the themes of death and Divine Judgement. Mozart’s use of dramatic action breathes new life into this sacred genre, with a sound that shines out to create a powerfully intense experience. His disciple Franz Xaver Süssmayr, who had already assisted him with other contemporary works such as The Magic Flute and The Clemency of Titus, finished off the requiem: a work with some pending issues since Mozart posed the question of death, but it still remains unresolved.
Mozart’s famous Symphony No. 40 stands out among his last three symphonies and among all those that he wrote in Vienna for its masterly use of wind instruments in the orchestral texture and for its bold harmonics, which are unique to this work. This masterpiece contains all the promise and heralds all the potential that would later be reflected in Romantic symphonies.
Despite the brevity of this motet on the death of God made man, Ave verum corpus is considered to be “the most sublime work of art ever written by Mozart” in the opinion of leading 20th expert in Mozart, Bernhard Paumgartner.
8
Jul
FEM UNA BONA PENA ABANS DE MORIR
SALA 3 - TETE MONTOLIU
Saturday, 8/07/2023 20:00
Saturday, 8/07/2023 20:00
FEM UNA BONA PENA ABANS DE MORIR
LOS SARA FONTÁN I SÒNIA GÓMEZ
SALA 3 - TETE MONTOLIU
Saturday, 8/07/2023 20:00
9
Jul
FEM UNA BONA PENA ABANS DE MORIR
SALA 3 - TETE MONTOLIU
Sunday, 9/07/2023 18:00
Sunday, 9/07/2023 18:00
FEM UNA BONA PENA ABANS DE MORIR
LOS SARA FONTÁN I SÒNIA GÓMEZ
SALA 3 - TETE MONTOLIU
Sunday, 9/07/2023 18:00
12
Jul
FESTIVAL BACHCELONA
SALA 2 - ORIOL MARTORELL
Wednesday, 12/07/2023 19:00
Wednesday, 12/07/2023 19:00
FESTIVAL BACHCELONA
MASAAKI SUZUKI
SALA 2 - ORIOL MARTORELL
Wednesday, 12/07/2023 19:00
A captivating programme focused on Bach and one of his most important musical genres: cantatas.
Masaaki Suzuki –music director of the Bach Collegium in Japan– is the guest conductor of the Bachcelona Festival, where he will offer a concert featuring, among others, soloists from the Salvat Beca Bach. Johann Sebastian Bach’s two cantatas BWV 71 and BWV 119 will be performed, both composed as part of religious celebrations to mark civic and political events: Gott ist mein König was written in 1708 to celebrate the inauguration of Mühlhausen Municipal Council and Preise, Jerusalem, den Herrn, which includes fragments of the Te Deum with texts by Martin Luther, was composed to mark the inauguration of Leipzig City Council in 1723. The concert will also feature the Cor Bachcelona Akademie and Bachcelona Consort, with Daniel Tarrida as organist.
Masaaki Suzuki –music director of the Bach Collegium in Japan– is the guest conductor of the Bachcelona Festival, where he will offer a concert featuring, among others, soloists from the Salvat Beca Bach. Johann Sebastian Bach’s two cantatas BWV 71 and BWV 119 will be performed, both composed as part of religious celebrations to mark civic and political events: Gott ist mein König was written in 1708 to celebrate the inauguration of Mühlhausen Municipal Council and Preise, Jerusalem, den Herrn, which includes fragments of the Te Deum with texts by Martin Luther, was composed to mark the inauguration of Leipzig City Council in 1723. The concert will also feature the Cor Bachcelona Akademie and Bachcelona Consort, with Daniel Tarrida as organist.
Next events
26
Feb
PATHS OF THE SOUL
ESGLÉSIA DE LA NOVA ALIANÇA DE BCN
Sunday, 26/02/2023 11:00
Sunday, 26/02/2023 11:00
Soon
PATHS OF THE SOUL
LA MÚSICA DE LA NEW COVENANT CHURCH
ESGLÉSIA DE LA NOVA ALIANÇA DE BCN
Sunday, 26/02/2023 11:00
Soon
CONCERT DE CAP D'ANY
Salvador Brotons
SALA 1 - PAU CASALS
Saturday, 30/12/2023 18:00
Soon