Archive for the Instrument category

The Cadaqués Orchestra International Conducting Competition at your home

Posted by Soledad Sánchez Bueno on December 11, 2013  |  Leave a comment

The XIth edition of the Cadaqués Orchestra International Conducting Competition starts on the next Thursday 12 December.

Contestants and spectators could watch the different levels of the competition on line in its last edition. The recent inclusion of the Tritó label in Believe Digital’s distribution platform, has allowed the promotion of digital content. Now, we could be able to broadcast all the phases of the competition and the final concert through the Classical Channel Experience of Daily Motion.

We are proud to have been able to undertake this initiative and invite you to connect from home and follow all the details of the contest.

Sunday, Deember  15th Sala Art i Joia, Cadaqués – First round – 10:00 AM to 2:00 PM / 4:00 to 8:00 PM

Monday, December 16th Sala Art i Joia, Cadaqués – Second round  – 9:00 AM to 01:00 PM / 3:00 to 5:30 PM

Tuesday, December 17th Auditori de BCN – Second round  - 11:30 AM to 2:30 PM /  5:00 to 8:00 PM

Wednesday, December 18th Auditori de BCN –  Third round –  10:00 AM to 2:00  PM / Semi-finals 5:30 to 8:30 PM

Thusday, December 19th Auditori de BCN – Final rehearsal 10:30 AM to 1:30 PM and Final Concert at 8:00 PM

XI Cadaqués Orchestra International Conducting Competition

Posted by Soledad Sánchez Bueno on September 6, 2013  |  Leave a comment

On the next Sunday September 8th is the deadline for registration to participate in the XI Cadaqués Orchestra International Conducting Competition that is organized by the Cadaqués Orchestra. The Cadaqués Orchestra International Conducting Competition is open to conductors of all nationalities born after 20 December 1977.

In this edition the jury will be composed by the conductors Gennady Rozhdestvensky, Lutz KöhlerJoji Hattori and Jaime Martín (main conductor of the Gävle Symfoniorkester and main conductor of the Cadaques Orchestra). Also will be part of the jury François Bou, manager of the Orquestra Simfònica de Barcelona i Nacional de Catalunya, Cristina Rocca, artistic manager of the Orchestre National de France, Louwrens Langevoort, artistic manager of the concert room Köhlner Philharmonie, and the Cadaques Orchestra.

We would like to remind you that the first prize is a tour of concerts during three years conducting the orchestres that collaborate with the Cadaqués Orchestra International Competition. This contest has been a decisive step in the career of great conductors as Pablo GonzálezVasily Petrenko or Gianandrea Noseda; all of them are now working with some of the best orchestras on the world.

The bases can be found directly in the web of the XI Cadaques Orchestra International Conducting Competition.

Josep Soler, from Munich to Barcelona

Posted by Soledad Sánchez Bueno on June 7, 2013  |  Leave a comment

Tomorrow, Saturday, will be held in Munich a concert with works from the CD Josep Soler & Alban Berg recently published.
It will take place in the Lehrinstitut Bencic at 19:00. Miguel Simarro and Robert Schröter also will perform works by Robert Schumann, Antonio Jimenez Manjarrez, César Filguerido Guelbenzu and Joaquin Nin.
Some of works included in this CD will be presented at the concert:
Josep Soler (1935)
Introduction, Fugue und Giga
Fragment of Sonatina
Aus Meditationen Sant Francesc
Alban Berg (1885-1935)
Sonata V (unvollendet) für Klavier only
Moreover, on Wednesday June 12 at 20:30 a new concert will be held at the Escola Superior de Música de Catalunya .
If you are interested going there you can get a discount. You just must print the poster published in this post.
No doubt, another opportunity to attend one of the most important and recent events in the musical state.

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.

Ramon Carnicer, Rossini and the guitar

Posted by Soledad Sánchez Bueno on March 4, 2013  |  Leave a comment

Some months ago we published a volume that includes four versions for guitar of the overture that Ramon Carnicer (1789-1855) created for the opera of Rossini, Il barbiere di Siviglia.

In the prologue of the edition, thoroughly written by Josep Dolcet and Josep Maria Mangado, alluded the transcendence the scenic pieces of Ramon Carnicer had. Starting his education as a clerical musician, he started composing arrangements and editions of some scores he conducted. As expected, the audience wanted new pieces of music.

Motivated by this demand and his own capacity to experience, Carnicer composed a new overture for Il barbiere di Siviglia -very known by the audience- that resulted, even for the original composer, Rossini, better than the real overture.

The popularity some opera pieces achieved during the 19th century in Europe, made place to new versions and adaptations of the famous fragments for different instruments, such as the guitar, the piano or the little ensembles. Apparently, there exist some adaptations for guitar of Carnicer’s overture.

In this edition made by Tritó, there are included a version from 2007 by Josep María Mangado and three more facsimile editions from 19th century. The first one -version by Pelegrí- was originally published in Barcelona, from 1819. The second version, anonymous, was published in Madrid, by Manuel Carrafa’s press. The last one, by Tomás Damaz, was also published in Madrid, the 1872 by Antonio Romero.

Thanks to the intensive musicological work developed around these editions, today we have this volume that will allow guitarists, researchers and curious to compare and choose the adaptation that fits better with their interests. Our editorial team wishes to share with you, our followers, the enthusiasm with which we carried this edition, and hopes to arouse your interest.

Feliu Gasull at the Nacional Auditorium of Madrid

Posted by Soledad Sánchez Bueno on March 1, 2013  |  2 Comments

Ensayo general Tonades - Feliu Gasull

Today in the afternoon there’s the world premiere of Tonades for voice, guitar and orchestra, in the Nacional Auditorium of Madrid.

The piece consists of a collection of seven peasant songs from Catalunya, Mallorca and Valencia. The unmistakable character of the composer, his irony, craftiness and wit are mirrored into the seven songs filled with mediterranean evocations.

Through a special treatment of the orchestration, the composer makes the popular component of the melodies emerge.

Feliu Gasull gets a direct complicity with his audience, without falling into the predictable. During an interview recorded for RTVE, the composer commented: “We have been a lifetime ignoring the south, always looking at the center of Europe, and I didn’t want to miss what the south offers to us, that is brutal.”

The Nacional Orchestra of Spain, conducted by Josep Pons, Feliu Gasull as the guitar soloist and the singer Silvia Pérez Cruz -newest Best Song of the Goya Awards 2013- will be the responsibles to perform the three concerts programed for this weekend.

The appointments are today and tomorrow (march 1st and 2nd) at 19:30, and the next sunday (march 3rd) at 11:30.

Cea, Leighton and the organs of Cuenca

Posted by Cristina Martí on September 2, 2011  |  Leave a comment

Uno de los órganos de la Catedral de CuencaThe I Organ Course ‘Julián de la Orden’, organised through the Cuenca Religious Music Week, began on 3 September and lasts until 11 September. Students of eight nationalities are attending classes of baroque organ taught by Brett Leighton and Andrés Cea, with a manualiter repertoire from the XVI-XVIII centuries; and a seminar given by David Catalunya, with a keyboard repertoire from the XIV and XV centuries.

As the opening act of the course, on 4 September a concert for two organs was given at the Cathedral of Cuenca by two of the teachers, the organists Andrés Cea and Brett Leighton, with a didactic character and specially addressed to a family audience, with the children being guided between oral explanations and musical examples in order to show them the technical possibilities and potential sound spectrum of these instruments.

Andrés Cea was born in Jerez de la Frontera (Cádiz). He studied in France and Switzerland, where Brett Leighton was a fellow student. He currently lives in Seville and teaches at the city’s conservatory. He has given concerts all over the world and recorded numerous albums, also performing with orchestras and other ensembles. Brett Leighton is Australian. He came to Europe for his organ studies and currently resides in Austria. He teaches in the city of Linz. He has performed numerous concerts on the most famous organs in Europe. Both organists had already played separately in the Cathedral of Cuenca and this was the first time they have given a concert together.

Among the activities during this course, the students have visited the archive of the Cathedral of Cuenca to view the musical documents kept there and also the musical instruments in its possession, and had the opportunity to get to know the organ in the church at Villar de Cañas. And on September 8, it was the students on the course who showed their expertise in a concert at the Cathedral.

On September 9, at 21.00 h. there will be a final recital in the Cathedral with the medieval music ensemble ‘Canto Coronato’ conducted by Professor David Catalunya.

Source: Voces de Cuenca

The I Organ Course ‘Julián de la Orden’, organised through the Cuenca Religious Music Week, began on 3 September and lasts until 11 September. Students of eight nationalities are attending classes of baroque organ taught by Brett Leighton and Andrés Cea, with a manualiter repertoire from the XVI-XVIII centuries; and a seminar given by David Catalunya, with a keyboard repertoire from the XIV and XV centuries.

As the opening act of the course, on 4 September a concert for two organs was given at the Cathedral of Cuenca by two of the teachers, the organists Andrés Cea and Brett Leighton, with a didactic character and specially addressed to a family audience, with the children being guided between oral explanations and musical examples in order to show them the technical possibilities and potential sound spectrum of these instruments.

Andrés Cea was born in Jerez de la Frontera (Cádiz). He studied in France and Switzerland, where Brett Leighton was a fellow student. He currently lives in Seville and teaches at the city’s conservatory. He has given concerts all over the world and recorded numerous albums, also performing with orchestras and other ensembles. Brett Leighton is Australian. He came to Europe for his organ studies and currently resides in Austria. He teaches in the city of Linz. He has performed numerous concerts on the most famous organs in Europe. Both organists had already played separately in the Cathedral of Cuenca and this was the first time they have given a concert together.

Among the activities during this course, the students have visited the archive of the Cathedral of Cuenca to view the musical documents kept there and also the musical instruments in its possession, and had the opportunity to get to know the organ in the church at Villar de Cañas. And on September 8, it was the students on the course who showed their expertise in a concert at the Cathedral.

On September 9, at 21.00 h. there will be a final recital in the Cathedral with the medieval music ensemble ‘Canto Coronato’ conducted by Professor David Catalunya.

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Filed under: Organ Music

Bobby McFerrin hacks your brain with music

Posted by Marcel Soleda on August 26, 2011  |  1 Comment

Still rummaging through de musical chest in Youtube we discover Bobby McFerrin leaving us gobsmacked in this fun, 3-min performance from the 2009 World Science Festival. He uses the pentatonic scale to reveal one surprising result of the way our brains are wired. Who said that music is not a universal language? :-)

Three unpublished sonatas by Domenico Scarlatti now available

Posted by Cristina Martí on August 24, 2011  |  Leave a comment

This August has seen the issue of three unpublished sonatas by Domenico Scarlatti: the sonatas for harpsichord in A, in E and in F, with a study carried out by the musicologist and lecturer at the university of Valladolid Águeda Pedrero-Encabo.

Two of the three sonatas that make up this edition (the Sonata in E and the Sonata in A) were presented for the first time in a free transcription made by Enrique Granados in 1905 for piano and which Joel Sheveloff used to reconstruct the possible originals for harpsichord, as these were thought to be lost. However, this researcher concluded that the transcriptions made by the Catalan composer were not taken from works by Scarlatti, for which reason these sonatas have always been regarded as “dubious.”

Later, M. Ester-Sala discovered the supposedly lost manuscript – M1964 – in the Biblioteca de Catalunya. She published the two sonatas in a facsimile edition, leaving their analysis to other researchers, some of whom, such as Walter Aaron Clark, concluded that the sonata in A is not by Scarlatti but by Courcelle, and that the sonata in E was the work of an anonymous composer.

The present publication is intended to be a critical edition of the original scores of the sonatas in A mayor and E mayor, which makes it possible to study them directly, given that they possess enough of Scarlatti’s traits to suggest they are originals.

As always, we would like to have your opinion: Do you agree that they are by Domenico Scarlatti? Take a look at the Sonata in A and let us know what you think.

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