Archive for the Orchestra 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.

Commitment to music, by Javier Pérez Senz

Posted by Javier Pérez Senz on June 9, 2011  |  Leave a comment

Catalonia de Isaac AlbenizThere are things that stir the music-lover’s memory, which bring back reminiscences of that irreplaceable experience which consists of listening to live music in its natural environment, the auditorium. For many fans, the recent recording of the symphonic rhapsody Catalonia, by Isaac Albéniz, at the hands of Jaime Martin and the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) will come as a pleasant surprise: the discovery of a score that exudes freshness, simplicity and melodic charm. For others, it will imply the rediscovery of a work that would be an obligatory part of the concert repertoire in any civilized country, but here, sadly, is not.

Its audition allows listeners to refresh their impressions and memories of great conductors and composers who, throughout their careers, demonstrated their belief in the value of this piece by their acts, without getting caught up in the widespread and sterile debate about Albéniz’s poor reputation as an orchestrator. Certainly, it is a marvel of refinement, but, when performed with full conviction of its merits, the listener is immediately captivated by the simplicity, the melodic inspiration and eternal freshness that permeate the Catalan composer’s music.

I am speaking of legendary musicians, such as the Russian Igor Markévitch, especially in his wonderful period of artistic involvement with the Orquesta Sinfónica de la RTVE; the Romanian Georges Enescu, stalwart defender of a piece that he often programmed, and all over the world; and Eduard Toldrà, the brilliant Catalan violinist, conductor and composer who, in 1944, created the Orquestra Municipal de Barcelona (now the OBC, which has at last recorded Catalonia), and who was a fervent promoter of the Spanish repertoire.

A greater commitment to music is needed and less obsession with attendance figures and box office takings.

There is a need for concert programmers who really believe in Spanish music.

The list includes musicians who are active at this time, such as Antoni Ros Marbà, a passionate perfomer of Albéniz and, in a very special way, of Toldrà, who was his teacher, Jesús López Cobos and José de Eusebio (thanks to his enthusiasm we now know more about the Camprodón musician’s operatic legacy than ever before; the recording discussed today includes an orchestral suite from Pepita Jiménez revised by him), and on his first CD with the OBC, Jaime Martin,

Albéniz had and has eloquent supporters. Why, then, is Catalonia still rarely heard in concert halls? Difficult question. First of all, there is a need for concert programmers who really believe in Spanish music. It is pointless to include just four or five pieces in a whole symphonic season; nor is the Spanish share of the programmes sufficient; nor are there enough commissions, increasingly unambitious and scarce. A greater commitment to music is needed and less obsession with attendance figures and box office takings.

There is enough leeway to balance the offer using the more popular classics to attract the general public –it all depends on the programmers’ imagination. The regularisation of works such as Catalonia – and this piece is just one example because there are hundreds of scores in the same situation – requires a strong alliance between performers, programmers and the public.

The musicians with power – and the chief conductors of a symphonic ensemble have a lot of power – are the ones who ultimately have a greater say when it comes to choosing which works are programmed and which are left out: when a chief conductor wants to play a given piece, eventually it gets played.

Programmers, managers and artistic directors should limit themselves to doing their duty, because the revival and dissemination of the national repertoire is an obligation for all orchestras, auditoriums and the concert-going public.

As for the public, the greatest possible complicity is needed, using the media that now, more than ever, can arouse – if used with imagination and efficiency  – music-lovers’ curiosity, the desire to discover new and old scores, the possibility of expanding frontiers.

Sincrotró-Alba: The premiere of the third symphony by Joan Guinjoan

Posted by Toni Cruanyes on May 5, 2010  |  1 Comment

On Friday 7 May, the expected premiere of Sincrotró-Alba, the third symphony by Joan Guinjoan, will take place. The work, organised into three movements, is fruit of a commission from the Synchrotron Consortium, whose particle accelerator in Cerdanyola del Vallès was inaugurated on 22 March, and who wish to celebrate its activation with an orchestral work inspired in the monumental scientific laboratory called Alba, which means ‘dawn’, a direct allusion to the first light of the morning, which dispels the darkness and unveils the landscape of a new day.

The programme, performed by the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) under the baton of Ernest Martínez Izquierdo, will be opened by the work The Unanswered Question by Charles Ives, and will conclude with Rachmaninov’s popular second piano concerto.

Sincrotró-Alba is the most important piece composed by Joan Guinjoan in the last few years.

Hypermusic Prologue and Hèctor Parra in Accents

Posted by Leticia Martin on May 6, 2009  |  Leave a comment

Issue no. 38 of the review Accents published by the Ensemble Intercontemporain is dedicated to Hèctor Parra’s Hypermusic Prologue.

Hypermusic Prologue is a unique project for intercommunication between science, music and art. It explores the traditional opera form in order to generate a type of dramatic expression for the 21st century, its ideas and creative processes, including recent research into physics and its parallelisms in music and art.

The main character, a composer and scientist, experiences deep tension between his “earthly love” and his “passion for knowledge”. This tension is built up dramatically through the contradictions between his life with his lover, limited in space and time, and his conviction that there is a much bigger world waiting to be explored.

This opera represents an opportunity to foster the search for more expressive forms for the drama and the musical possibilities. Its object is to find aesthetic structural connections through sound between that most abstract of the arts – music – and the highest concepts of theoretical physics, as researched by Lisa Randall and others. We hope the result will be a novel and fascinating creative experience.

The review is free and can be downloaded here.

A symphonic spring for Ramon Humet

Posted by Leticia Martin on May 4, 2009  |  1 Comment

This season is proving to be a prolific one as regards Ramón Humet’s symphonic activity. The performances of “Escenas de pájaros” by the Montreal Symphony Orchestra conducted by Roberto Minczuk and the OBC conducted by Rubén Gimeno have been followed by a premiere: “Sol de primavera”, a work commissioned by the Auditorio Nacional de Música to mark its 20th anniversary. The work was performed for the first time on the 3 May at the Auditorio Nacional, and on 5 May at the Auditori Nacional de Cataluña, by the JONC conducted by Manel Valdivieso.

Following this premiere, Ramón Humet will also be present at the Festival de Verano (Summer Festival) in Tarragona, where “Gagaku” will be premiered by the OBC, who will also play “Un vent transparent” at the Auditorio de Vilaseca on 19 June.

El Gato con Botas (Puss in Boots), reduction for piano

Posted by Leticia Martin on April 24, 2009  |  Leave a comment

El gato con Botas, an opera by Xavier Montsalvatge with a libretto by Nestor Luján based on the story by C. Perrault, has been newly published as a reduced version for piano and voice.

This opera, composed by the Catalan composer in 1948, is one of the liveliest examples of contemporary Spanish opera and has been staged on several occasions – the latest was a co-production by the Teatro Real and the Liceu – both in its original version and as the adaptation made in 1996 by Albert Guinovart for chamber ensemble.

Gianandrea Noseda conducts Albéniz and Granados

Posted by Leticia Martin on April 24, 2009  |  Leave a comment

The recent tour of the Orquesta de Cadaqués, conducted by Gianandrea Noseda, with concerts in Girona (28 April) and Zaragoza (29 Abril) focussed on Spanish music. The repertoire consisted of pieces by Isaac Albéniz, to mark the centenary of his death, and Enrique Granados, and their works were interpreted using the orchestrations that Albert Guinovart was commissioned to write by Tritó Edicions.

The Orquesta de Cadaqués presented four pieces from the Suite Española (Cadiz, Asturias, Cordoba and Sevilla) by Albéniz as well as his Canciones Italianas, interpreted by Ainhoa Arteta. Las Tonadillas by Enrique Granados completed a first part in which the Orquesta de Cadaqués, Gianandrea Noseda and Ainhoa Arteta paid their own special homage to Spanish music.

The concert programme was completed by F. Schubert’s Symphony nº 4.

David del Puerto presents his third symphony in Cordoba

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

On Thurday 16 April, at the Gran Teatro at 21:00 hrs, and as part of the busy programme of the Festival Cosmopoética held in Córdoba during March and April, David del Puerto’s third symphony, “En la melancolía de tu recuerdo, Soria”, was presented. It is a work commissioned by the Otoño Musical Soriano and composed in 2007.

Antonio Machado’s poems are the focal point of the work, with José Sacristán as the recitalist and the singers Elena Gragera and Carmen Gurriarán. The orquesta de Córdoba and the conductor Marco de Prósperis, together with these soloists, were given the task of presenting this large-scale work at the poetry festival. This is piece that signifies a point of inflection in the music of the composer David del Puerto.

See for further.

New CD with symphonic works by Jesus Torres

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

This is the first monographic CD of orchestral works by the composer Jesús Torres (Zaragoza, 1965), one of the leading composers of his generation, who in the words of Jose Luis Téllez “attracts attention for both the maturity and the perfection of his writing and the speed and self-assurance with which the musician from Aragon has managed to define a personal style almost right from the beginning”.

The first work, “Sinfonía”, which was commissioned by the Orquesta de RTVE and its conductor Adrian Leaper to mark the 40th anniversary of the ensemble, is one of the composer’s most ambitious pieces to date. The writing of a symphonic work is a great challenge which the composer dealt with very successfully.

The other two works, on a smaller scale, were also the result of commissions. “Movimiento” was commissioned as the final piece in the 2004 Cadaquès Orchestra Conducting Competition. The recording was conducted by the Italian Gianandrea Noseda.

Partita” was commissioned by the Joven Orquesta Nacional de España (JONDE) in 1998, when Jesus Torres was the in-house composer with this ensemble. Although it was written for only fifteen instruments it is a synthesis of orchestral composition.

Benguerel, Martínez Izquierdo and Rueda, at the CDMC

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

On Monday 23 March, the Orquesta de Cadaqués ensemble, under the baton of Alejandro Posada, interpreted a programme that included three fundamental works by the composers Xavier Benguerel (Hexagrama), Ernest Martínez Izquierdo (Norte-Sur) and Jesús Rueda (Chamber concerto no 2).

These three works, written in very different languages, present part of the current Spanish music scene.

The concert was completed by one of Arnold Schonberg’s masterworks, Ode to Napoleon, with a solo contribution by the baritone and actor David Moss.

Further information at:

The Pyrenean Symphony by Guridi included in this season’s Orquesta de RTVE programming

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

On 19 and 20 March, the Pyrenean Symphony by Jesús Guridi (1886-1961) was presented in Madrid as part of this season’s ORTVE programming at its home in the Teatro Monumental in Madrid. The conductor was Pablo Gonzalez.

In this work Guridi evokes “the spirit of the mountains and the dangers existing there”. It is a very colourful work with descriptive traits. Its modal and rhythmic character clearly expresses the composer’s inspiration in Basque popular music, translated in this work into the characteristic symphonic language of the 20th century.

The writer Gerardo Diego summed up his impressions of the work in a review where he concluded as follows: “And Spanish music can now lay claim to a symphony that may be compared without hesitation with the illustrious Alpine, Cevennian and Carpathian heights and pinnacles of the musical landscape.”

“Obertura Festiva” by Manuel Castillo

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

Obertura Festiva, by Manuel Castillo (1927-2005), is being published with the support of the Centro de Documentación Musical de Andalusia of the Andalusian government,

This work for orchestra was composed in 1996 and was dedicated to the Fundación Jacinto e Inocencio Guerrero as a token of appreciation for the prize awarded to the composer by this foundation.

The work does not conform to a pre-established  formal scheme, but rather it is constructed on the basis of the sum of different materials that include touches of Andalusian tonalities.

El soldadito de Plomo (The Tin Soldier), advance promotion

Posted by Leticia Martin on January 19, 2009  |  1 Comment

El soldadito de plomo, by Emilio Aragón, comes to life thanks to an animation. Just as it did with “La flor mas grande del mundo” (The biggest flower in the world), Continental Producciones has created a short animated film using plasticine, set in the Toy Museum in Allariz (Orense) and where Andersen’s story is told from a new angle.

This animation is fruit of twelve months’ work and 18,000 shots. For the voices of the characters Continental Producciones and Algarabía Animación have chosen actors of the calibre of Manuel Manquiña (the “Cigarrón”) and Luis Piedrahita (the Soldier).

Alejandro Posada conducts Cap de Quers in Valladolid

Posted by Leticia Martin on January 10, 2009  |  Leave a comment

Cap de Quers by David del Puerto, a work commissioned by the Orquesta de Cadaqués and the CDMC for the 9th International Conducting Competition of the said orchestra, was presented in Valladolid on 9 and 10 January. The principal conductor of the Orquesta Sinfónica de Castilla y León, the Columbian Alejandro Posada, chose this work for this season’s opening performance with the orchestra at the Auditorio Miguel Delibes in Valladolid.

Cap de Quers received its name from David del Puerto as a tribute to the Orquesta de Cadaqués and the conducting competition. It was played by the finalists in the 9th competition and it proved to be a work of great interest for both the musicians and the public, which was completely won over, as is demonstrated by the fact that it has been performed on several occasions since its premiere and will shortly be played at Auditorio Nacional de Madrid.

Cap de Quers

Alter Klang by Benet Casablancas in Holland, Belgium and Sweden

Posted by Leticia Martin on January 9, 2009  |  2 Comments

The Dutch youth orchestra, Nationaal Jeugd Orkest, conducted by Reinbert de Leeuw, has chosen the work Alter Klang by Benet Casablancas for its January concert tour, which takes it to the cities of Amsterdam, Rotterdam and Utrecht in Holland and Antwerp in Belgium. This work consolidates Benet Casablancas’ place among the most internationally acclaimed Spanish composers.

Alter Klang (Antique harmonies) refers back to a well-known painting with the same name by Paul Klee. The composer brings a broad spectrum of sustained rhetorical resources and synesthesiae into play, which emerged in the adaptation of the pictorial language to music.

Composed in a sole movement for large orchestra it has received chamber music treatment on various occasions. It is dedicated to Josep Pons, who conducted the premiere at the Auditorio Nacional de Madrid in 2007. This same conductor will perform it in Malmö (Sweden) with the Malmö Symphony Orchestra in April.

Alter Klang

Gianandrea Noseda conducts Brahms

Posted by Leticia Martin on December 29, 2008  |  Leave a comment

The Cadaqués Orchestra conducted by Gianandrea Noseda presents the complete symphonies of Johannes Brahms in a double CD.

This symphonic cycle, despite being one of the least extensive, is one of the keys to understanding the transition from classicism to romanticism and orchestral music from the 19th century to the present day.

The ODC ensemble, smaller than usual for this repertoire, becomes a brilliant tool in the hands of the Italian conductor, who knows every nuance of the score and brings out the best in each of the musicians with a splendid labour that results in masterly performances.

Simphnony no.1 Un poco sostenuto – Allegro

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Simphnony no.2 Allegro non troppo

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All the symphonies were recorded at the Auditorio de Zaragoza after a tour of various Spanish cities.

The Orquesta de Cadaqués accepted the challenge of making the first recording of this complete set by a Spanish ensemble, with a magnificent result that is on a par with the key recordings of this repertoire. A recording that was an important undertaking in both its artistic and technical aspects and which will surprise and please both the connoisseurs if this repertoire and those who are listening to it for the first time.

Simphnony no.2 Adagio non troppo

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Simphnony no.3 Andante

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Simphnony no.3 Allegro

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Further information at

La Rosa del azafrán, by Jacinto Guerrero

Posted by Leticia Martin on December 10, 2008  |  2 Comments

La Rosa de Azafrán is one of the most performed works in the repertoire of zarzuelas and without doubt one of Jacinto Guerrero’s masterworks. This new edition is base on the original score and its reduction for voice and piano, and has been prepared in collaboration with the Fundación Jacinto e Inocencio Guerrero.

La Rosa de Azafrán was premiered at the Teatro Calderón de Madrid in 1930. It was composed on the same lines as other works such as Los gavilanes and La montería, also by Guerrero. The plot is set in the Castile that the composer, who was born in the village of Ajofrín in the province of Toledo, knew so well.

Around the end of the 19th century a period of Spanish musical theatre came to an end and a new generation of creators came to the fore. This generation was in tune with the predominant aesthetic tastes in Europe and had to meet an incessant call for new works. The orchestral arrangements of the time had to adapt to these demands and also the scarcity of some instruments.

1. Preludio

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2. Canción del sembrador

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3. No me duele que se vaya…

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Today’s listeners may have certain difficulties in appreciating the real magnitude of a “literal” performance of the score, which has been mutilated on numerous occasions in order to adapt it to the formats of the groups and orchestras that performed it.

The present edition, prepared by Miguel Roa, has taken these particularities into account. He has rejected the presentation of a historicist version in favour of a version that certainly does not go against the author’s true intentions.

You can download a sample here…

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