This website uses cookies to obtain statistical data about its users browsing habits. If you continue browsing we consider you accept their use.
You will always be able to revoke your consent and get more information here.

Hide
  
Login
Cat     Esp     Eng
Welcome to our online ticketing system.
Here, you can get your tickets in a simple way.
Select the event:
FESTIVAL MOZART - NITS D'ESTIU
SERGEI DOGADIN & LIONEL BRINGUIER
SALA 1 - PAU CASALS

Thursday, 7/07/2022 19:00
The solemn, compact overture to La Clemenza di Tito (The Clemency of Titus) is a final yet quintessential example of one of the most characteristic, human traits in Mozart's music: nobility of spirit. The same might also be said of his Violin Concerto No. 3, even though it was written in his youth (which never actually determines anything in the case of the Salzburg composer): a dynamic piece that fully reflects the gallant mood of the time.

DESERT
Albert Quesada & Frames Percussions
SALA 3 TETE MONTOLIU

Saturday, 16/07/2022 19:00
Desert is based on the piece Timber (2009) by American composer ‎Michael Gordon (1956-), a work premiered in Spain in 2016 by the percussion ensemble ‎FRAMES Percussion.‎
This new staging by dancer and choreographer Albert Quesada, with an innovative sound ‎design, presents a rereading of the piece and offers a unique immersive experience.‎
In Michael Gordon’s words, Timber “evokes a journey through the desert”, a ‎journey that spectators will embark upon situated in the centre of sound and dance, which ‎will take them through the austerity and physicality of the sound material. The work is scored ‎for six large pieces of wood, known as simantras and used in Eastern Orthodox liturgy.‎
An aesthetic experience that will make us reflect and travel through our own personal, inner ‎desert.

JULIA LEZHNEVA & DANI ESPASA
FESTIVAL MOZART - NITS D'ESTIU
Palau de la Música Catalana

Saturday, 16/07/2022 19:00
The superb, eclectic French coloratura soprano, Patricia Petibon, and the versatile, multifaceted, meticulous Dani Espasa join forces with the OBC in a truly classic programme featuring works by Gluck, Mozart and Baguer, three leading names in musical classicism. Christoph Willibald Gluck is one of the earliest leading exponents of the Viennese style and his influence was the most significant, particularly in the field of opera, which he helped to reform by abandoning baroque traditions. Mozart evidently needs no introduction, while Carles Baguer– the great Iberian symphony composer of the time (our Haydn)–skilfully combined the finest strengths and virtues of Italian and German repertoires in his works.

DESERT
Albert Quesada & Frames Percussions
SALA 3 TETE MONTOLIU

Sunday, 17/07/2022 19:00
Desert is based on the piece Timber (2009) by American composer ‎Michael Gordon (1956-), a work premiered in Spain in 2016 by the percussion ensemble ‎FRAMES Percussion.‎
This new staging by dancer and choreographer Albert Quesada, with an innovative sound ‎design, presents a rereading of the piece and offers a unique immersive experience.‎
In Michael Gordon’s words, Timber “evokes a journey through the desert”, a ‎journey that spectators will embark upon situated in the centre of sound and dance, which ‎will take them through the austerity and physicality of the sound material. The work is scored ‎for six large pieces of wood, known as simantras and used in Eastern Orthodox liturgy.‎
An aesthetic experience that will make us reflect and travel through our own personal, inner ‎desert.

QUATUOR ÉBÈNE I QUARTET CASALS
BRAHMS 3
SALA 2 - ORIOL MARTORELL

Wednesday, 14/09/2022 19:00
A programme of musical crossovers with the Ébène and Casals quartets.
The Barcelona Quartet Biennale begins with a programme full of musical crossovers. In Reflections on the theme B-A-C-H, Sofia Gubaidulina extracts a theme from The Art of Fugue by J. S. Bach, which will play a central role in this year's Biennale. Variations are explored in a short work, with a certain spectral air, which is, above all, a great homage to the late Baroque master. W.A. Mozart’s String Quartet in G major, K. 387, known as "Spring," is part of a series of six quartets that ​​Mozart dedicated to the father of string quartets, Joseph Haydn, who was a friend of his. Mozart composed his “Spring” quartets in 1782, a year after the premiere of Haydn’s String Quartets Op. 33, which had greatly impressed Mozart. The “Spring" quartet, written towards the end of the composer's life, is a work of great exhibition clarity. Brahms String Quartet No. 3 in B-flat major, Op. 67 is a rather lively and jovial composition, which Brahms created with the intention of moving away from the seriousness of his First Symphony, which premiered just one week after the quartet.

COSMOS QUARTET
PAPA HAYDN
SALA 4 - ALICIA DE LARROCHA

Thursday, 15/09/2022 12:00
Two works by the father of the quartet created almost twenty years apart.
Joseph Haydn composed about seventy string quartets throughout his career and was highly influential in consolidating this instrumental formation as a musical genre in its own right. On this occasion, the Cosmos Quartet will perform the String Quartet No. 1, Op. 33 (1781) and the String Quartet No. 1, Op. 76 (1797), composed almost twenty years apart.
Haydn’s String Quartets, Op. 33, are known as the "Russian Quartets" because they were dedicated to the Grand Duke of Russia, future Tsar Paul I. The quartets are full of irony and wit. At the beginning of the first quartet, Haydn plays with ambiguity, letting the audience guess if it is written in D major or in B minor.
The String Quartets, Op. 76 are one of the last works that Haydn composed, when he was already extremely old. Dedicated to Count Erdődy, the first quartet of this series, written in G major, begins with three chords in tutti that are especially well-known and is structured in four movements, three of which are in sonata form. Again, Haydn oscillates between major and minor tones and, in fact, begins the last movement in G minor.

JERUSALEM QUARTET I QUARTET ATENEA
DVORÁK: AMERICAN QUARTET
SALA 2 - ORIOL MARTORELL

Thursday, 15/09/2022 19:00
Dvořák, Korngold and Mozart in the hands of the acclaimed Jerusalem Quartet.
Antonín Dvořák composed the String Quartet No. 12, Op. 96 during a summer stay in Iowa, USA, shortly after composing the New World Symphony. The influence of American music is present in the work through various elements, such as the use of the pentatonic scale and the syncopated rhythms. In this quartet, Dvořák manages to balance melodic creativity and structural clarity.
Erich W. Korngold’s String Quartet No. 2, Op. 26 was composed shortly before Korngold’s triumph in Hollywood. It has some features of the Viennese tradition, such as luminosity and the use of waltz form. However, there are also some hints at certain melodic and harmonic elements that later find their way into his film scores.
W. A. Mozart’s String Quartet No. 21, K. 575, dedicated to King Frederick William II of Prussia, is a relaxed work that Mozart composed at full maturity and contains outstanding virtuosic cello passages.
Benet Casablancas String Quartet No. 3, explores darkness and night, as he does in works such as Darkness Visible and Shade and Darkness. Based on verses by W. B. Yeats, Casablancas creates a single movement with three clearly differentiated parts. The first and final sections, which evoke night storms, are of great emotional and rhythmic intensity, while the central part is delicate and suggests an atmosphere of calm and rest.

ARIS QUARTETT
PAPA HAYDN
SALA 4 - ALICIA DE LARROCHA

Friday, 16/09/2022 12:00
Aris Quartett performs two quartets from Haydn’s late years.
In the late 18th century, Joseph Haydn was nicknamed "Papa Haydn”. The musicians who worked for him gave him the nickname, probably to highlight the wisdom and benevolence that he was known for. However, this expression is also often used to introduce the composer as the father of the symphony and also of the string quartet. On this occasion, Aris Quartett will perform the second and fourth quartets of the Op series. 76, which is one of the last that Haydn composed, when he was already in his last years. It was dedicated to Count Erdödy. The second quartet is called the "Quinten" in reference to the falling perfect fifths that open the first movement and dominate the whole work. The fourth quartet, on the other hand, begins with a rising theme from sustained chords that open the work. This rising theme gives the piece its nickname: "Sunrise".

BELCEA QUARTET I ARIS QUARTETT
BEETHOVEN: RAZUMOVSKY 1
SALA 2 - ORIOL MARTORELL

Friday, 16/09/2022 19:00
The Quartets Op. 59 surpass classical conventions and mark a turning point for Beethoven.
The Three String Quartets, Op. 59 – named after the Count, to whom they are dedicated, Razumovsky -  marked a turning point in the compositional career of L. van Beethoven, who finally dared to move away from classical conventions. They are technically difficult works, with contrasts of dynamics and an almost symphonic magnitude of sound. At Razumovsky's request, the first Quartet includes a popular Russian theme that characterises the last movement.
The "Quartettsatz", which is the first movement of a string quartet that Franz Schubert never finished, has a certain tragic air. It is one of the composer’s last works.
The String Quartet No. 14, Op. 142 is the penultimate quartet that Dmitri Shostakovich composed, when he was already seriously ill. The cello plays a predominant role.
In Officium breve in memoriam Andreae Szervánszky Op. 28, György Kurtág pays a posthumous tribute to Szervánszky and Anton Webern, two of his great musical influences.
In-side, the fourth piece from the Brains cycle will also be performed. Misato Mochizuki composed the pieces which are based on research into brain function.

JACK QUARTET I QUARTETTO MAURICE
LOOKING FORWARD
SALA 2 - ORIOL MARTORELL

Saturday, 17/09/2022 17:00
A day dedicated to new music for string quartet.
This double concert offers a broad overview of contemporary compositions for quartet, perhaps the most complex type of ensemble and one which testifies, even today, to a composer’s skills. The concert’s four premieres will bring the audience into contact with ‘new names’ in contemporary composition (given that the term ‘young’ has become increasingly difficult to define), with Álava-born composer  Daniel Apodaka (whose influences go beyond music, since a large part of his work also strives to unite poetry, prose, painting and sound); Joan Arnau Pàmies (whose work is strongly influenced by electronic music and the trend toward new complexities); Erin Gee (who combines her work as a composer and vocalist, with the voice playing a key role in her conception of sound, from phonetic to semantic aspects); and Eric Wubbels (whose main focuses of interest are contrasted ideas and the passage of time). In addition to these composers, we will also hear Núria Giménez-Comas’ tribute to Bach, since her composition revolves around one of his fugues from The Art of Fugue, exploring its resonances. This is also something that is closely pursued by Luther Adams, who works solely with open strings and natural harmonics, with a resulting hypnotic sound that shies away from displays of virtuosity. One of the main of protagonists of this kind of work is Giacinto Scelsi, a musician who works on each string of each instrument in a detailed, individual way.  Fausto Romitelli, also bases his work on sound, albeit moving from technology to instrumental sound. Romitelli’s Natura morta con fiamme is the outcome of research by the composer from 1990 to 1991 at the French Institute de Recherche et Coordination Acoustique/Musique (IRCAM), with the construction of a composition in the form of modules, made up of different sound objects, allowing for its formal organisation in blocks.

CUARTETO QUIROGA I VERONIKA HAGEN
QUINTETS DE MOZART
SALA 2 - ORIOL MARTORELL

Saturday, 17/09/2022 19:30
Two key Mozart quintets, composed alongside each other, but quite opposite works.
W. A. ​​Mozart expanded the possibilities of chamber music through six quintets, which included two violas. The String Quintet in C major, K 515 and the String Quintet in G minor, K 516 are two sides of the same coin: Mozart composed them both during the spring of 1787, shortly after learning that his father was seriously ill. However, the contrast between the tones makes them two almost opposite works. Even though the final allegro is quite cheerful, the Quintet in C major has a predominantly tragic and obscure air. The Quintet in G minor, on the other hand, has a more vital and majestic character. The following year, Mozart repeated this set of tones in the Symphony in G minor, K 550, and in the Symphony in C major, K 551.
Five years earlier, Mozart had transcribed for string quartet, five fugues from J. S. Bach's The Well-Tempered Clavier in order to learn the Baroque master's technique. From that point on, many of Mozart's works included more sophisticated counterpoint elements.

QUARTET CASALS, BENJAMIN ALARD I COSMOS QUARTET
L'ART DE LA FUGA
SALA 2 - ORIOL MARTORELL

Sunday, 18/09/2022 19:00
The imposing art of Bach's fugue played with the historical bows of the Cuarteto Casals and the harpsichord of Benjamin Alard.
The last concert in the Barcelona Quartet Biennale is dedicated to the greatest work in counterpoint, The Art of Fugue by J. S. Bach was published in 1751, a year after the composer's death. Throughout fourteen fugues - the last one unfinished - and four canons, Bach rigorously deploys a wide variety of counterpoint techniques. For this reason, it is thought that Bach created The Art of Fugue with a pedagogical forethought; that is, to condense and exemplify the theory of counterpoint that he had been developing in previous compositions. The main theme of the work is simple, both melodic and rhythmic, and Bach repeats and transforms it with astonishing skill.
Barcelona’s Octavi Rumbau finally premieres his first string quartet, which is commissioned by L’Auditori and the Barcelona Quartet Biennale.

MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS

Friday, 30/09/2022 19:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies.  The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.

MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS

Saturday, 1/10/2022 19:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies.  The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.

MAHLER 4
Audrey Luna i Ludovic Morlot
SALA 1 - PAU CASALS

Sunday, 2/10/2022 11:00
In Gustav Mahler’s Symphony No. 4, the composer takes a new creative turn, using the orchestra’s rich timbres to convey a luminous, nostalgic, blissful vision of heaven, seen through the eyes of a child. The work reaches a climax in the last movement, with a lied on the theme of a popular poem from Des Knaben Wunderhorn (Youth’s Magic Horn) following a long, deeply tragic third movement. A symphony with an intimate sense of spirituality that was not understood in its day, it reveals the boundless imagination of a composer who left his hallmark on the history of symphonies.  The second commission given to Hans Abrahamsen by the Berlin Philharmonic was Let me tell you. A song cycle conspicuous for its polished precision and moments of great lyricism, it is inspired by the eponymous novel by Paul Griffiths featuring Hamlet’s Ophelia. A work with a theatrical mood, it has received high praise throughout the whole of Europe since its premiere.

LA VANGUARDIA
AVDA. DIAGONAL, 477 3º 08036 BARCELONA
Email: info@entradadevanguardia.com

Disclaimer
Cookies policy
Powered by