Archive for the Festivals category

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.

The Cuarteto Arriaga at the Donostia-San Sebastián Musical Fortnight

Posted by Cristina Martí on August 19, 2011  |  Leave a comment

As many of you will already know, the Donostia-San Sebastián Musical Fortnight has just taken place, an event with a wide-ranging programme where a large number of performers gather together at what is the oldest festival in Spain, dating back to 1939. It offers symphonic concerts, ballets, early music, chamber and contemporary music in diverse venues such as churches, the Palacio de Miramar, and the splendid Auditorio Kursaal, designed by Rafael Moneo.

Precisely in the chamber music hall at this auditorium, the Cuarteto Arriaga gave a concert on 24 August. The group presented an eclectic programme that included both classical and 20th century works, performing pieces by the composer from Vitoria, Jesús Guridi (Quartet nº 1 in G Major), Juan Crisóstomo de Arriaga (Quartet nº 2 in A Major), the virtuoso Italian celloist Luigi Boccherini (Quartet G159 in C minor, Op. 2, Nº1), and also Vistas al mar, a composition with a marked Mediterranean flavour, by Eduard Toldrá. This composer was an essential model for the Catalan music of the last century and he and Guridi were close friends. The programme was performed a second time on 26 August in the Parque Lamuza in the town of Llodio in Alava, as part of the “Quincena Andante”.

Consisting of the violinists Aitzol Iturriagagoitia and Rodrigo Bauzá, the violist Miguel Ángel Lucas and the cellist Damien Ventula, the Cuarteto Arriaga brings together four key figures in the world of European chamber music and their wide international experience is confirmed by the concerts they give all over Europe.

Escucha aquí audios de Juan Crisóstomo Arriaga

The Cuarteto Arriaga

A summer with lots of music, by Javier Pérez Senz

Posted by Javier Pérez Senz on June 28, 2011  |  Leave a comment

Catalunya still boasts a wide offer of summer festivals. It’s true that there is not always a clear programming policy, and all too often the proposals consist of presenting several concerts without a common theme or clear artistic focus, but the offer still stands, despite the crisis.

In the case of Barcelona, the situation is rather depressing. In fact, it is a city where classical music almost disappears in the summer. Only the Gran Teatre del Liceu offers a quality programme during July: the end of the season includes concerts of Tamerlane by Handel, with Plácido Domingo and Bejun Mehta in the cast, and Daphne, by Richard Strauss, with Pablo González making his debut at the Liceu at the helm of the OBC.

The Festival Grec has increased its classical offer, traditionally rather scarce, under the artistic direction of Ricardo Szwarcer, and forthcoming events include an opera concert with Ainhoa Arteta and the Cadaqués Orchestra under the baton of Jaime Martin, with Puccini featuring prominently in the programme.

Incidentally, the great Basque soprano has just released an extraordinary recital with the pianist Malcolm Martineau, which is her debut with the prestigious Deutsche Grammophon label. The repertoire includes pieces by Charles Gounod, Georges Bizet, Reynaldo Hahn and an exciting section devoted to the great Spanish song repertoire including the Cinco canciones negras by Xavier Montsalvatge, four Tonadillas al estilo antiguo, by Enric Granados and the Poema en forma de canciones, op. 19, by Joaquín Turina.

Fortunately, despite the crisis, many summer festivals remain active, but the compulsive search for new audiences and the blind obsession with eclecticism as a programming formula has swept away many of the hallmarks of some of the most traditional venues.

The same cannot be said of the classical offer at the Auditori – reduced to its minimum expression, although this year the Sónar has included a magnificent homage to Steve Reich – or the Palau de la Música Catalana, with an offer exclusively intended to attract tourists.

Fortunately, despite the crisis, many summer festivals remain active, but the compulsive search for new audiences and the blind obsession with eclecticism as a programming formula has swept away many of the hallmarks of some of the most traditional venues. Where once classical music reigned supreme – because most festivals around Catalonia began as festivals specializing in classical music – world music, jazz, pop and other genres now share the limelight.

The trend is not necessarily bad, but caution is needed and the occasional mega concert in search of mass audiences is not to be entirely trusted. One thing is to harness the pull of the media stars so as to be able to display the sold-out sign, something legitimate and commendable, and another thing is to overlook the rest, the promotion of new values and local productions as a sign of identity. In this sense, we can applaud the consistency, rigour and unquestionable quality of the Torroella de Montgrí International Festival of Music and also celebrate the 25th anniversary of the Festival Castell de Peralada, which this year returns to its origins with a sensational programme focused on opera.

This summer also counts on two new events, conceived with the idea of supporting very distinct artistic proposals. On the one hand, the Festival de Música Antiga dels Pirineus has been launched with plenty of momentum, fruit of the joint efforts of different institutions in the Pyrenees. Its programming policy is clear and attractive: drawing on the beauty of the rich architectural heritage in the area and its suitability as a backdrop for early music, in order to offer evenings with musical personality, presented by the best bands and singers specialised in the historical performance of the early and baroque repertoire . And, importantly, the idea is to make it a key event for both the international promotion of the best Catalan ensembles and soloists and the dissemination of our musical heritage.

The second proposal also combines architectural beauty with music and includes gastronomy as a novel incentive. This is the Modernist soirees in the unique setting of the Monestir de San Benet, a proposal that offers visitors the chance to enjoy a concert of “Modernist” music in the monastery cellars and, optionally, during the same evening visit the “Modernist” space dedicated to Ramon Casas at Món Sant Benet and enjoy supper in the gardens.

“Apocalipsis” at the SMR in Cuenca

Posted by Leticia Martin on April 19, 2011  |  Leave a comment

Apocalipsis de Jesús Torres

The second day of the Cuenca Religious Music Week, 17 April, saw the premiere of the latest work by Jesús Torres. Apocalipsis, specially commissioned for the Festival, is an ambitious project that counted on the participation of the Ensemble Residencias, the French choir Accentus and the Gregorian choir Schola Antiqua, all of them conducted by Nacho de Paz.

The old church known as the Iglesia de la Merced, a beautiful religious space converted into a library, was the venue of the premiere. As its title indicates, Apocalipsis is based on bible texts from the Book of Revelation written by St John of Patmos. The composer has divided the work into seven parts, each seven minutes long, combining Latin and Spanish in the choral lyrics. And two mixed choirs, a Gregorian choir and the ensemble – consisting of seven percussionists, two pianos, two trumpets, two horns, four trombones and an oboe – constitute a group of 49 musicians (7×7), distributed in seven spaces, thus giving special importance to both the numerical symbolism and the spatial organisation, specially thought out for the venue of the premiere.

The public, with the venue packed out, was situated at the centre of this whole spatial arrangement and experienced the “revelation” first hand. Several minutes of applause capped this unforgettable event during which Torres’ music carried us from the seven seals to New Jerusalem. The music evolves to express the text and also develops its own descriptive identity, making the most of the special characteristics of the instruments and the fabulous performers on hand for the occasion.

Following on from works like Evocación and Sinfonía, Jesus Torres has achieved the perfect fusion of music and lyrics in this piece, without detriment to the particular qualities of these two components. With each new project it becomes clearer and clearer that he is one of the most important composers of contemporary music in Spain.

More early music, please

Posted by Llorenç Caballero on March 30, 2011  |  1 Comment


The weekend before last, the annual meeting of the Asociación de Festivales de Música Clásica, “Festclásica”, was held in Orense. This association brings together over forty music festivals held throughout the peninsula and is intended to present the festivals and the activities they organise. I participated as representative of the Festivales de San Lorenzo in El Escorial.

FestClásica carries out two annual projects that I would like to draw attention to here. The first is the commission offered to twelve composers to compose short works around the theme ” Una Iberia para Albéniz” (An Iberia for Albéniz), in memory of the Spanish maestro. And these will be premiered by the pianist Juan Carlos Garbayo, with the release of a CD to follow.

The second project relates to the “Comisión de música antigua” (Early Music Commission) organised by some of the festivals (Quincena, Aranjuez and Zamora). This involved the award of three prizes for the recovery by an early music ensemble of an unpublished work from the Spanish musical heritage. The winners were:

  1. Alia Música for the liturgy El Alma Lastimada, conductor Miguel Ángel Sánchez
  2. El Concierto Español for Ifigenia en Tracia by José de Nebra, conductor Emilio Moreno
  3. La Grand Chapelle for Canto del Alma by Cristóbal Galán, conductor Albert Recasens

On the occasion of the presentation of these awards and taking advantage of free time available while travelling by bus in Galicia, I have reviewed the discography of some of these groups.

What is obvious is that early music from Spain has possessed and still possesses unrivalled strength and energy, and enjoys an international reputation, and that the public interest it attracts responds to none other than its high quality and enviable good shape. In this sense the excellent level of some of these groups in general and some musicians in particular deserves special mention. The three groups have developed some very interesting programs of the highest quality, and the level of the performances on the recordings is extraordinary, besides these being splendidly presented.

The fact that in the last 30 years many Spanish musicians have left to study in countries more specialized in this genre, and many of them have returned and are now working as teachers in conservatories and schools around the country, has led to a notable improvement in the level of the students. Such a high level of musical expertise is now evident when playing these repertoires that this country has ended up by overtaking those countries that previously served us as a model.

The truth is that as director of Tritó Edicions, and after personally witnessing this high level of both recording and playing at the weekend, I feel that we should consider issuing some of the scores of these as yet unpublished Spanish works in order to round off the work that these groups, thanks to their energy and initiative, are carrying out.

Congratulations to everyone who has made this happen and I cherish the hope that the festivals and the authorities will continue promoting and further supporting (much more) all this movement.

Llorenç Caballero
Director of Tritó Edicions

Filed under: Classical music, Festivals

VI International Percussion Festival of Catalonia

Posted by Cristina Martí on January 20, 2011  |  1 Comment

During the coming month of February, the Auditori de Barcelona will host the sixth International Percussion Festival of Catalonia, which on this occasion will be characterised by a more international programme, with musicians from other countries such as the USA, Denmark, India and Portugal.

Marilyn Mazur

The U.S. percussionist Marilyn Mazur

A total of nine groups will participate at the festival:

  • Marc Ayza & Dj. Helios (Catalonia- USA)
  • Gamelan da Casa da Música de Porto (Portugal)
  • Marilyn Mazur · Molvaer · Aarset trio (USA- Denmark)
  • Tambor de Saía (Catalonia)
  • Pedro Javier González & Raúl Rodríguez & Trilok Gurtu (Sevilla-Catalonia- India)
  • Conjunto de percusión del ESMUC (Catalonia)
  • Percussions de Barcelona (Catalonia)
  • Iñaki Plaza & Ion Garmendia (Basque Country)
  • Santi Arisa & Jove Cor Coral·lí (Catalonia)

In this list special mention should be made of the presence of the Hindu percussionist Trilok Gurtu, who, accompanied by Pedro Javier González on guitar and the Raúl Rodríguez from Seville on electric Cuban tres, will blend sounds from the east and the west in a concert programmed for Friday 16 February.

During the coming month, the concert venues in the Catalan capital will host a total of nine performances, plus, as on previous occasions, the already classic performance by the students in the percussion group from the Escuela Superior de Música de Cataluña (ESMUC).


For further information visit the Auditori de Barcelona website.

“La guitarra soñada” by Javier Riba presented in Madrid and Barcelona

Posted by Leticia Martin on April 15, 2009  |  Leave a comment

In the year of Albéniz’s centenary (1860-1909), Javier Riba, following the best Spanish guitar tradition (Miquel Llobet, Francesc Tárrega), has realised some brilliant versions of different works by the maestro from Camprodon, which are now being presented in concert in Madrid and Barcelona.

The opportunity to listen to Javier Riba live in Madrid is on 22 April, as part of the concert programme organised by the Sociedad Española de la Guitarra, at the Centro Cultural Conde Duque del Ayuntamiento de Madrid, and he can be heard in Barcelona on 23 May, as part of the Festival de Guitarra de Barcelona , in the Iglesia de San Felipe Neri.

The CD “La guitarra soñada” by Javier Riba is a Tritó production.

The ARS Musica Festival in Brussels gives the music of Hector Parra a warm reception

Posted by Leticia Martin on March 18, 2009  |  Leave a comment

The 20th ARS Musica Festival in Brussels has confirmed its position as one of the most important in the ambit of contemporary music. From 10 March to 10 April some of the best-known names on the contemporary scene will pass through the Belgian capital.

The composer Hèctor Parra, confirming his international projection, has been present at the festival with two concerts and a talk. The Arditti Quartet premiered his work “Leaves of reality” on 12 March and the Brussels Philarmonic conducted by Michel Tabachnik  performed one of his latest works for  orchestra, “Lumières Abyssales-Chroma”.

Further information at:

Mexico-Spain Contemporary Music Festival

Posted by Leticia Martin on February 12, 2009  |  2 Comments

After a 25-year hiatus, Mexico and Spain once again co-organize a festival of contemporary music, this February 17 to 28, to present the leading exponents of the genre from both countries, along with poetry recitals and master classes in composition.

The new Spanish-Mexican Festival of Contemporary Music will revive artistic exchange and end a quarter of a century of isolation and lack of awareness of the work of musicians from either nation, says the director of the event, Marcela Rodriguez. “Now,” she adds, “we are going to reactivate the exchange and presentation of the latest from genre, with works of high quality in terms of composition and execution. They are fresh and define the vision and influences of each of the participants.”

She recalled that the original festival was organized by the Mexican Alicia Urrueta and the Spaniard Carlos Cruz de Castro. “It was called the Spanish-Mexican Festival and was held from 1973 to 1983. After that, contact between the composers from the two countries was broken off.”

She explained that the programme consists of concerts of chamber and electronic music. “There will be five world premieres and 17 pieces will be played for the first time in Mexico.”

In total, she said, there will be six concerts with pieces by Mexicans Lara Ana and Gabriela Ortiz, among others, and the Spaniards José Manuel López, Carlos Cruz de Castro, José Luis Castillo, Javier Arias, Jesús Rueda, Santiago Lanchares, Ramón Humet and Mercedes Zavala. She also highlighted the performances by the ensembles Onix and Catrina String Quartet, plus the piano soloists Carlos Apellániz and Alberto Rosado.

See the program

Jesús Torres resident composer at NEXEduet

Posted by Leticia Martin on November 17, 2008  |  Leave a comment

NEXEduet, the percussion group of Sisco Aparici and Jordi Francés, has picked Jesús Torres as composer in residence for its 3rd PERCUSSION ACADEMY. The course, being held this 5-8 December in Banyeres de Mariola (Alicante), also has guest tutors Christian Dierstein, for Germany, and Daniel Berg, from Sweden.

Percussion occupies a special place in contemporary music, and there now exists a real repertoire for the range of instruments it includes. The works of Jesús Torres are extraordinarily powerful and expressive, as well as being representative of his language, which makes them particularly interesting. The pieces that will be performed at the Academy concerts include Proteus (for solo multi-percussion), Tiento (for marimba and vibraphone), and Dánae (for six percussionists). On 7 December, the students on the course will put on a concert dedicated to the works of Jesús Torres.

Jesús Guridi and Isaac Albéniz at the Cadiz Festival

Posted by Marcel Soleda on November 17, 2008  |  Leave a comment

Festival de Música de Cádiz 2010The 2008 Spanish Music Festival of Cadiz, organized by the Government of Andalusia, which runs 20-30 November, features a range of works from the Tritó catalogue.

On Saturday, 22 November, the Basque National Symphony Orchestra, under the direction of Pablo Gonzalez, winner of the 2006 Cadaqués Orchestra Conducting Competition, presents Jesús Guridi’s monumental Sinfonía Pirinenca. This work, which premiered in 1946, is one of the best examples of the Basque composer’s oeuvre, with three contrasting movements, from passages of great melodic beauty to others of stunning rhythmic richness, and including influences from folk music and French impressionism.

On 29 November, the Granada City Orchestra conducted by JF Haisser performs three of Jesús Rueda’s orchestrations of Isaac Albéniz’s Suite Iberia: Triana, Lavapiés and Evocación. The Madrid composer’s particular tribute to one of the great piano works of all times retains all the freshness and immediacy of the original rendered in orchestral form. The Granada City Orchestra performs the same programme on 30 November as part of the orchestra’s regular concert season.

“Glossa” by Jesús Torres in the Carlos Prieto’s competition

Posted by Leticia Martin on October 28, 2008  |  Leave a comment

Glosa“Glossa” (2004) by Jesús Torres has been selected as the obligatory piece for the 2009 Carlos Prieto International Cello Competition in Mexico. In addition to drawing on the established cello repertoire, each year the competition selects works by contemporary Latin American composers plus one piece by a Spaniard.
The Spanish cellist Asier Polo, a member of the jury, and who has performed Jesús Torres’ work on several occasions, strongly advocated the inclusion of Glosa. Other composers featured in the competition, to be held in August 2009 in the Mexican town of Morelia, are Marlos Nobre (Brazil), Benzecry (Argentina), Ziman (Mexico).

New Epigrams in ISCM World Music Days 2008

Posted by Leticia Martin on October 28, 2008  |  Leave a comment

Benet Casablancas“New Epigrams” for chamber orchestra has been included in the programme for “ISCM World Music Days 2008″, being held this year in Vilnius (Lithuania). The piece, Spain’s sole representative at this year’s Festival, is being performed on October 27 by the Cantus Ensemble of Croatia at the Town Hall in the Lithuanian capital. The international jury, charged with making their selection from among over 350 scores submitted by the ISCM’s national sections, includes figures of the stature of Peter Eötvös, Jonathan Harvey, Luca Francesconi, Onute Narbutaire and Helena Tulve. New Epigrams has been performed previously in London (London Sinfonietta Perspective CD), Strasbourg (Festival Musica), Amsterdam (Holland Festival), Düsseldorf (Biennale “Ohren Musik aus Europa”), St. Petersburg (Hermitage State Orchestra), La Tour-de- Trême (Orchestre de Chambre de Lausanne), Oberlin (Ohio, USA), Vienna (Portrait Benet Casablancas, Musikverein) as well as in several Spanish cities (Barcelona, Madrid, Alicante, Sabadell and Valencia).
Alter Klang “Impromptu per a orquestra”, was commissioned by the Spanish National Orchestra in 2007, and is published by Tritó Edicions. In 2009 the piece will be performed in Holland, Belgium and Sweden.

Joan Guinjoan protagonist of the 3rd Contemporary Music

Posted by Cristina Martí on October 28, 2008  |  Leave a comment

Joan GuijoanJoan Guinjoan, one of the leading figures in Spanish contemporary music in the past fifty years, in his dual role as conductor-pianist and composer, is in the spotlight at this year’s Contemporary Music Festival of Barcelona.

A concert cycle of his works opened this past Oct. 15 with a performance by Barcelona 216. Guinjoan was surrounded by the organizers of the cycle, the Caixa Catalunya Foundation and Musicadhoy, and by composers and performers who praised his figure.

Throughout the cycle, his works will be interpreted by some of the top musicians in contemporary music, including Horacio Lavandera, who performed “Verbum” on October 27 and the Cuarteto Diotima, String Quartet on Nov. 5. All concerts are at the Caixa Catalunya Auditorium in Barcelona.

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.

Hèctor Parra at the Warsaw Festival

Posted by Cristina Martí on September 29, 2008  |  Leave a comment

Hector ParraThe Chamber Symphony No. 2 “Fibrilian” (TR286) by the Catalan composer Hèctor Parra was the sole Spanish premiere at this year’s Warsaw Autumn Festival, dedicated to Ibero-American music. The Wroclaw Chamber Orchestra, under the direction of Ernst Kovacic, performed the piece this past Sunday 21 September in the Chamber Hall of the National Philharmonic.
This premiere confirms the international status of Hèctor Parra, composer resident in Paris whose works have been performed by the leading ensembles in Europe, and who enjoys an especially close relationship with the Ensemble Intercontemporain of Paris.

“El Puerto” by Albéniz orchestrated by Jesús Rueda

Posted by Cristina Martí on July 30, 2008  |  Leave a comment

Jesús RuedaThis year’s Peralada Festival provides the setting for the Cadaqués Orchestra’s premiere of the fourth orchestration, done by the Madrid composer Jesús Rueda, of Albéniz’s Suite Iberia.
Suite Iberia is one of the best-known works by Isaac Albéniz. Originally written for piano, its scenes of Hispanic references have been orchestrated several times, but this is the first adaptation for classical orchestra. Rueda’s profound feeling for the music of Albéniz has produced orchestrations of Triana, Evocación, Lavapiés and now El Puerto that demonstrate tonal and musical richness.
In addition to El Puerto, the Peralada Festival concert, this 5 August, also features Evocación, under the direction of maestro Neville Marriner, principal guest conductor of the Cadaqués Orchestra.

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