Archive for the Gabriel Erkoreka category

The 12th Cadaqués Orchestra International Conducting Competition coming soon!

Posted by Soledad Sánchez Bueno on July 31, 2017  |  Leave a comment

The 12th Cadaqués Orchestra International Conducting Competition will be held from 14 to 18 December 2017, with the preliminary round lasting from 11 to 13 of the same month. Our ONLINE application portal will be open as of Friday 30 June 2017 at 10 a.m. Spanish time and will finish Friday 8 September.

The winner of the Cadaqués Orchestra International Conducting Competition will conduct at least one concert with all the orchestras collaborating in the competition throughout the seasons 2017-18, 2018-19 and 2019-20.

The orchestras who make a commitment to the competition and entrust the jury with the responsibility of choosing the winner are the real stars. Their trust is what makes the award unique in the world of orchestral conducting competitions, and what makes it, rather than a mere recognition of talent, into a solid platform supporting the professional career of the winner.

Registration deadline

From: 30 June 2017

To: 8 September 2017

Only completed applications submitted before midnight on 8 September 2017 (12:00PM GMT +1), will be accepted.

Repertoire

First round:

Arnold SCHÖNBERG: Pierrot Lunaire, Op. 21 (Universal Edition);

Second round:

Wolfgang Amadeus MOZART: Symphony No. 41 in C major, (Bärenreiter);

Third round:

a) Juli GARRETA: Impressions simfòniques para orquesta de cuerda  (Tritó Edicions);
b) Ludwig van BEETHOVEN: Symphony No. 7 in A major (Breitkopf & Härtel);

Fourth round or semi-final:

Gabriel ERKOREKA: “Tramuntana”, work commissioned for the competition. (The score will be distributed to the contestants on the opening day of the competition). This work will not be on sale or otherwise available before the opening day of the competition.

Final:

a) Gabriel ERKOREKA: work commissioned for the competition;
b) Vicent MARTÍN I SOLER: Recital and aria of L’arbore de Diana: “Perfidi! In questa guisa… – Sento che dea son io” for soprano and orquesta (Tritó Edicions);
c.1) Johannes BRAHMS: Variations on a Theme by Joseph Haydn, Op.56a (Breitkopf Urtext, nº 3692)
c.2) Robert SCHUMANN: Overture, Scherzo and Finale, Op.52 (Breitkopf Urtext, nº 5527)

These are the recommended editions because they are the ones used by the Orchestra. If the contestants use other editions they may encounter problems with the bar numbers and the rehearsal letters.

The scores can be ordered from Tritó Edicions  www.trito.es

Set Tritó

Complete set

More details at Cadaqués Orchestra’s web

Great premiere of “Tientos y batallas” by Gabriel Erkoreka

Posted by Soledad Sánchez Bueno on March 5, 2013  |  Leave a comment

Yesterday afternoon, the premiere of Tientos y Batallas, by Gabriel Erkoreka -a piece filled with echoes from the Renaissance- was performed in the Auditorium 400 of the Museo Nacional Centro de Arte Reina Sofía by the Sax Ensemble, conducted by José Luis Temes.

The newsletter “El Cultural” interviewed the composer moments before the performance. We transcribe the interview below, originally executed by Benjamín Rosado:

Pregunta.- Tras la “resaca” de las vanguardias, ¿qué llama la atención a un compositor de nuestros días de los modos de componer del Renacimiento?

Respuesta.- Para mí no es algo nuevo. En varias ocasiones he hecho referencia a la música renacentista. Por ejemplo, la fascinación por Giovanni Gabrieli me llevó a crear una conexión entre sus cori spezzati, en la Basílica de San Marcos de Venecia, y mi obra HAMAR, que hice para los espacios del Museo Guggenheim en su décimo aniversario.

P.- A partir de 1800 el tiento perdió su popularidad, pero fue recuperado por algunos compositores del siglo XX, como Cristóbal Halffter y Manuel Castillo. ¿Ha tenido en cuenta estas u otras aportaciones más recientes?

R.- He escuchado la magnífica obra para gran orquesta de Cristóbal Halffter en varias ocasiones, pero en la mía hago un acercamiento distinto, como no podía ser de otra manera, debido a la diferencia entre los medios empleados. Mis batallas sólo aluden a Cabanilles y Aguilera de Heredia en algunos pequeños arquetipos melódicos y rítmicos; y sin llegar a ser derrotistas, tienen poco de heroicas.

Mis batallas sólo aluden a Cabanilles y Aguilera de Heredia en algunos pequeños arquetipos melódicos y rítmicos; y sin llegar a ser derrotistas, tienen poco de heroicas.

P.- ¿Hasta qué punto la obra se empapa de los tiempos actuales?

R.- Podría decir que en los tientos se ofrecen unas miradas al pasado a través de lentes distintas, pero en las batallas procuro, en cambio, reflejar el mundo tal cual lo veo a través de mi ventana. La crisis no es de creatividad. Hoy, más que nunca, hay que proteger la música contemporánea, tan vulnerable en estos días, de los ataques externos.

P.- ¿Cuánto tiene esta obra de “estudio”, de aprendizaje técnico?

R.- La obra está escrita para cuarteto de saxofones, piano y percusión, y presenta una variedad de texturas, algunas de naturaleza contrapuntística. Requiere de una cierta ductilidad en la producción del sonido por parte de los saxofones, a menudo en pianissimo en los registros extremos.

P.- El Sax-Ensemble es una singularidad. ¿A qué aspectos sonoros y rítmicos de su universo creativo le ha permitido sacar más partido?

R.- El saxofón es un instrumento muy versátil. En otras obras como Duduk I y II lo he relacionado con el oboe armenio, o en Yidaki con el didjeridú australiano. En este caso hay una oposición entre el tratamiento de los saxofones por un lado, que en general funcionan como un consort de cornettos y sacabuches, y el piano y la percusión, que exageran ese mundo en cuestiones de dinámica y registro.

P.- Dice en las notas del programa que “de la oposición entre tradición e innovación nace un nuevo orden formal, no exento de cierto dramatismo”. ¿A qué se refiere exactamente?

R.- ¿Eso he dicho? Pues no me toca a mí decirlo, así que ¡ya me estoy arrepintiendo! Lo que sí puede haber en la obra es una oposición entre unas secciones más luminosas y otras más opacas.

P.- ¿Cómo dialoga Tientos y Batallas con el resto de obras del programa Dos generaciones vascas?

R.- Posiblemente surja un diálogo con las otras obras del programa, pero no ha sido buscado, al menos conscientemente. En efecto, se da la circunstancia de que todas las obras son de compositores vascos, pero también hay que decir que faltan muchos nombres, tanto de una generación como de otra.

P.- ¿Qué otros proyectos le ocupan estos días?

R.- Tengo entre manos dos obras de cámara, y en breve me pondré con una obra de gran formato para piano solo, mi instrumento, que me apetece mucho. Paralelamente sigo con mis clases de composición en Musikene, y con la coordinación del Ciclo de Conciertos de Música Contemporánea Fundación BBVA en Bilbao, que está teniendo una gran aceptación entre el público.

“Zigor” and “Fuegos” conducted by Pierre-André Valade

Posted by Soledad Sánchez Bueno on October 10, 2012  |  Leave a comment

The Bilbao Symphony Orchestra, under the batom of Pierre-André Valade, one of the most important  worldwide specialists in modern and contemporary repertoire, will offer a special concert on Thursday October 11 at 8 pm at the Teatro Campos Elíseos de Bilbao.
The program includes the premiere of Fuegos in Euskadi by  Gabriel Erkoreka which received the Queen Sofia Prize for Composition in 2008 and the premiere of the Symphonic Fragments of Zigor, Escudero Francisco Opera.
There will be also performed, El silencio de las piedras by Jesús Echevarría and Cobermòrum de J. Vicente Egea.
It is possible to purchase tickets at the website of the theater.

Our composers in the 2012/2013 CNDM season

Posted by Soledad Sánchez Bueno on June 11, 2012  |  Leave a comment

The 2012-2013 season of CNDM in Spain presents a program of more than 102 concerts and pedagogycal activities.

Every year the CNDM ask for works to the most important composers in Spain. In this year we will be attend to the premiere of Tientos by Gabriel Erkoreka.

In words of the CNDM organizers  the cycle Series 20/21:  ”As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailingtendencies”

One of the concerts that will be presented on the Centro Galego de Arte Contemporánea (CGAC), the Arbós Trio will performance Trio (2001) that the composer Jesús Torres devoted to this group. TRITÓ is pleased to detect that one of his composers is always present on the festivals of contemporary music.

As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailing tendencies.

In the other hand and also in the program is included L’infinit by Jesus Rueda. It will be performed on the Museo Nacional de Arte Reina Sofia.

These are just some of the interesting proposals CNDM season.  We suggest you consult the program of the season CNDM to avoid getting lost any proposal of interest.

Greek medicine in New York

Posted by Cristina Martí on April 11, 2011  |  Leave a comment

Askeplios is the name of the Greek god of medicine, usually depicted next to a snake entwined on a stick, a symbol of renewed life. Askeplios is also one of the works by the Bilbao composer Gabriel Erkoreka that can be heard on 28 April at the Judson Memorial Church in New York, performed by the Maya Ensemble, whose members are the flutist Sato Moughalian, harpist Bridget Kibbey and percussionist John Hadfield. Premiered in Manhattan last June, in this piece Erkoreka uses melodic archetypes from Greek traditional music, which twist and turn like the snake on the Greek physician’s stick.

You can find information on performances of this and many other composers’ music in the Tritó concert schedule

Contemporary music 2011

Posted by Cristina Martí on March 7, 2011  |  Leave a comment

Logo Ciclo Música Contemporánea Sevilla 2011On various Wednesdays in the months of March, April and May, the 2011 Seville Contemporary Music Cycle will be held at the Teatro Central in Seville. The programme consists of eight concerts, including works by David del Puerto, Hèctor Parra and Gabriel Erkoreka.

Specifically, on 27 April the ensemble Rejoice will perform the concert version of the work Carmen Replay by David del Puerto, and on 30 March the Ensemble Recherche will present works by Hèctor Parra and by students of the Manuel de Falla Chair of Composition at the University of Granada. In addition, on the 25 May you will be able to listen to works by another of the composers who works with Tritó, Gabriel Erkoreka, along with other contemporary composers such as Saariaho and Fineberg, at the hands of the Taller Sonoro under the joint title “Angelus Novus: el futuro presente”.

Gabriel Erkoreka in Zarzuela’s Palacio

Posted by Marcel Soleda on November 12, 2008  |  Leave a comment

Queen Sofía has met in the Zarzuela’s Palacio the recently winner of the XXVth Prize Reina Sofia of Musical Composition, Gabriel Erkoreka. Erkoreka has won this prize for his work Fuegos for orchestra.

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Gabriel Erkoreka’s “Fuegos”, finalist for the Queen Sofía competition

Posted by Marcel Soleda on October 6, 2008  |  Leave a comment

“Fuegos” by the composer Gabriel Erkoreka premieres this 10 October at the Teatro Monumental in Madrid with the RTVE Orchestra, conducted by director Adrian Leaper, in the extraordinary final concert of the Queen Sofía Composition Prize organized by the Ferrer Salat Foundation.

The programme also includes this year’s other finalist work, Concertino for Viola and Orchestra by the Japanese composer Takahiro Sakuma.

Gabriel Erkoreka was born in Bilbao in 1968 and has lived in London for more than ten years. Among other composition honours, he has won First Prize from the Spanish Society of Authors and Writers (SGAE); the Basque Government Prize; the Josiah Parker Prize; the Rome Prize, as well as prizes from the Spanish National Institute of Performing Arts and Music (INAEM) and the Spanish College of Paris. He is an honorary associate member of the Royal Academy of Music (ARAM) and composition tutor at MUSIKENE-Higher Conservatory of Music of the Basque Country.

This is his first work published by Tritó.

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