Archive for the Publicaciones category

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.

Reducing Dalí

Posted by Cristina Martí on August 30, 2011  |  Leave a comment

After the fantastic recent premiere of the opera in four acts, “Yo, Dalí”, by Xavier Benguerel, which was performed last June by the Orquesta de la Comunidad de Madrid and the Coro del Teatro de la Zarzuela conducted by Antonio Fauró, the reduced version is now avalable from Tritó. The same as another reduction that we published this summer, The Magic Opal, by Albéniz, you can rent the full score of the opera or acquire this version for voices, choir and piano.

On continuation we would like to offer a short news item televised by RTVE on the occasion of the premiere, where you can listen to Benguerel himself discussing his work.

Video Yo Dali en RTVE

Neu Records, on CD because there’s no alternative

Posted by Marcel Soleda on June 27, 2011  |  Leave a comment

Neu RecordsOn 14 June the CD “Blanc” was presented at the Palau de la Música Catalana, the first release from the new Catalan label Neu Records, containing the collected choral works of the composer Bernat Vivancos. This double CD was produced in collaboration with Catalunya Música and the ICIC, and performed by the Latvian Radio Choir conducted by Sigvards Klava.

Thee are many things about this new project that we like:

To begin with, in my opinion, the excellent choice of material for the first recording in the collection, Blanc, which contains a work of extraordinary delicacy and high quality, in a style reminiscent of Arvo Pärt, James McMillan and Olivier Messiaen, and which definitely proves that Spanish contemporary works are at the forefront of the current European scene. Contemplative, transcendent music which, in the words of Norwegian composer Lasse Thoresen, “is like a city of angels: blissful sounds populated by saintly spirits hiding between the notes as birds in a tree.” He couldn’t have put it better.

We also like this label’s bold commitment to Catalan contemporary music, a commitment they themselves mention in their own presentation: “Neu Records is a newly created independent label devoted to making recordings of contemporary music in high definition surround format, and also to providing a platform for interaction between Catalan and international performers and composers at the highest level.”

Listening to CDs recorded by Neu Records is different to going to a concert, because it they place the listeners at the heart of the sound experience.

We note their special interest in the exploration and development of new formats and higher sound quality beyond the conventional CD or mp3, employing high-quality Dolby Digital Surround 5.1 (24bits/96kHz). They explain that in contrast to the concept of the classical concert, i.e. the stage in front of the audience, there is no particular reason why contemporary music concerts should respect this tradition in terms of spatial layout, and therefore they put the listener on the centre stage among the musicians. Listening to CDs recorded by Neu Records is different to going to a concert, because it they place the listeners at the heart of the sound experience.

However, what stands out most – and what I personally think it is their biggest selling point – is the new approach to the recording project beyond the sale of hardware. Unlike most classical music labels, their web takes a rather different approach, not so focused on the cold promotion of the CD and subsequent redirection to third-party outlets, real or online, but open to the promotion of extra materials (scores) and additional information, and purchase in a choice of different quality formats, one of which is the CD format itself. This new approach, quite innovative in the field of classical music labels in Spain, suggests that for them the sale of compact discs is no longer the main and sole objective. It even seems as if they were only still doing so because they have no choice.

Neu Records is, then, a project for the 21st century, high-quality, sophisticated, bold, innovative, and made in Catalonia. We wish the company the best of luck in this venture.

Novelties from Cambridge University Press

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

Publicaciones de música de Cambridge University Press

As of today, as we already announced, Tritó will distribute the music publications of the prestigious publishing house Cambridge University Press. For the moment, four titles are available on our website, a list that will grow longer with time: “Music and Urban Society in Colonial Latin America”, by Tess Knighton and Geoffrey Baker,Native American Song at the frontiers of Early Modern Music”, by the author Olivia Bloechl, the monographic “Music in Spain during the Eighteenth Century”, by Juan José Carreras and Malcolm Boyd, and “Performance on lute, guitar and vihuela” edited by Víctor Anad Coelho.

Follow this link to view the whole Cambridge University Press catalogue: Cambridge University Press

The Magic Opal by Isaac Albéniz

Posted by Arnau Farré on April 14, 2011  |  2 Comments

The Magic Opal by Isaac Albéniz

Josep Pla was of the opinion that music should be systematically understandable: “if necessary, to the point of sheer vulgarity, mud and bricks and that’s it.” The operetta genre lends itself more freely to this description than others, or to put it in a more pedantic and euphemistic way, this excess of comprehensibility.

Using an eccentric libretto that situates the action on the coast of Greece (a circumstance that determines the names of some characters but has no influence on the music, unless it’s the abundance of Phrygian cadences) Isaac Albéniz complies effectively with the customs of Victorian operetta.

Now, in a magnificent edition by Borja Mariño, this work is newly available and we have the opportunity to approach it with a full and thorough knowledge of the facts. Forget any condescension towards the genre, though: it is more than likely that “The Magic Opal” has moments of ambivalent simplicity in store for us, unbearable and delicious at the same time.

Listen to an excerpt from The Magic Opal >

Nosaltres, els grallers (We the shawm players)

Posted by Toni Cruanyes on February 14, 2011  |  Leave a comment

Tritó has reissued Nosaltres, els grallers on its Amalgama imprint. This monumental work is the result of many years of investigation and research carried out by Blai Fontanals and the Escola de Grallers (Shawm Players’ School) in Sitges, steadily and doggedly gathering information, much of which would now be lost because many of the sources have disappeared in the meantime.

The publication, which was first issued in 1996, is an comprehensive compendium of the world of shawm players, from their origins in the 18th century up to the second half of the 20th century.

The book is organised into three blocks: the first section is devoted to a thorough historical presentation of the instrument, from its origins and background to the present day, paying special attention to the so-called Golden Age of the shawm, the period ranging from the last third of the 19th century to the early 20th century.

The second part focuses on the characteristics of the instrument and the surrounding context: music transcriptions, makers, design, musicians and traditional techniques, composers and first recordings.

Finally, as a focus for all the content, a list and description of all documented shawm-players has been included, ordered by towns and districts.

This edition counts on a prologue by Xavier Orriols and also the collaboration of Xavier Bayer and Joan Cuscó.

“Nosaltres, els grallers” constitutes a major reference work in the world of shawm players and Catalan traditional music in general. It is a primary source for the serious study and the recovery of an important part of Catalan popular culture from the last two centuries, the shawm and its players. Above all, it dignifies the status of this instrument – which is so essentially Catalan – and everything linked to it: the groups of shawm players and their relationship with the traditional festivals in Catalonia.

Link to Nosaltres, els grallers >

Collection Música Breu

Posted by Cristina Martí on January 18, 2011  |  Leave a comment

Interludi Manuel Garcia Morante

Tritó Edicions is pleased to present the new collection of chamber music scores. Titled Música Breu, it consists of a series of short Spanish pieces for chamber orchestra.  In December the following titles were published, which you can obtain in the shop:

Preludio a Melisendra, by Agustí Charles
Interludi, by Manuel García Morante
Interludi de Castertelçol, by Josep María Mestres Quadreny
Interludi amb música antiga, by Xavier Benguerel
Intermezzo, by Miquel Ortega
Octet, by Benet Casablancas
Interludi, by David Padrós

Published Fantasia for Tuba and Piano

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

Fantasia para tuba y piano“Fantasia for Tuba and piano” by Bartolomé Pérez Casas, probably one of the earliest works ever written for these two instruments, is now available from the Tritó catalogue. The project to publish this landmark work for the tuba entailed a major research effort by both the publisher and reviser Miguel Moreno Guna, from the Royal Conservatory of Music in Madrid, to find the composer’s original manuscript as well as the historical documentation essential for the best possible recreation of the score.

Bartolomé Pérez Casas was a leading figure in Spanish music in the first half of the twentieth century, as director of the Royal Lancers Corps Band, professor of harmony at the Royal Conservatory in Madrid, founder and director of the Philharmonic Orchestra of Madrid and director of the Spanish National Orchestra between 1942 and 1947. His knowledge of wind instruments and his music teaching skills make this an essential piece in the tuba repertoire.

Fully published the work of Manuel Castillo

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

Manuel CastilloThanks to an agreement with the Music Documentation Centre of the Government of Andalusia, Tritó is publishing the complete works of Manuel Castillo (1927-2005). The latest release, Piano Concerto No. 2, was composed in 1966 and premiered in the Auditorium of the Ministry of Information and Tourism and the Teatro de la Zarzuela in January 1967 with the composer at the piano with the RTVE Symphony Orchestra.
This concerto is the least known of the three that the Sevillian composer wrote for the piano, and in the words of Thomas Marco “lies between the youthful first and masterful third.”

Ramón Humet’s Escenas de viento debuts in Montreal

Posted by Marcel Soleda on October 7, 2008  |  Leave a comment

“Escenas de viento” (TR634) for orchestra premieres today 30 September in Quebec (Canada) in a concert by the Montreal Symphonic Orchestra conducted by Jacques Lacombe.

This work is the fruit of a commission by the Montreal Symphonic Orchestra awarded to Ramón Humet as the winner of last year’s Messiaen Composition Prize, organized by the orchestra and its principal director Kent Nagano, for his work Escenas de pájaros.

The music of Ramón Humet, with a highly personal language combining a characteristic melodic sensibility, rhythmic forms, strong contrasts and references to the natural world.

Brief pieces for piano, by Santiago Lanchares

Posted by Redacción on February 19, 2008  |  Leave a comment

The piano works of the composer Santiago Lanchares, with exquisite and exhuberant harmony and highly empassioned character, are among the most interesting for this instrument in Spanish contemporary music. Under the generic title of Piezas breves, two of the Palencian composer’s collections of pieces for solo piano are now available: “Cinco amigos”, first written in 1984 and which we might call his Op. 1, were revised thanks to the interest of the pianist Ananda Sukarlan, and serve as an introduction to his works. These pieces are not very demanding technically and thus are apt for teaching material. “Dos piezas para Alicia” were written in the summer of 2003 and are dedicated to Alicia Sukarlan. These works, and others composed before 2005, are available in a monographic edition published by Sello Verso from our webside

The Orquesta de Castilla y León and Cadaqués Orchestra perform Shostakovich

Posted by Redacción on February 19, 2008  |  Leave a comment

The Orquesta Sinfónica de Castilla y León and Cadaqués Orchestra, conducted by Gianandrea Noseda, joined musical forces during the Ibermúsica season for a performance of Dimitri Shostakovich’s Symphony No. 4 in D minor. The performance, lauded by public and critics alike, is now available on CD from Tritó recorded at the Centro Cultural Miguel Delibes in Valladolid shortly before its inauguration last year. This symphony, one the Russian composer’s most important works, reflects in its passages the convulsive period of Stalinist Russia in 1936 and make the piece, in the words of Luis Suñén “protean, uncommonly moving, in which the life of a man appears utterly bared. This an extraordinary example of how true it is that music speaks for itself .” A rendition that balances the entire range of emotional elements in the work, from triumph to despair, outstanding both for the work of the Italian conductor and the teamwork of the two orchestras, which after having collaborated on previous occasions, record here together for the first time.

Manantial de luz by Jesús Torres selected by the UER

Posted by Redacción on February 19, 2008  |  Leave a comment

Each year RNE Radio Clásica selects works for the European Broadcasting Union, and this year’s selection includes Manantial de luz by Jesús Torres. This work was commissioned by the Spanish Centre for the Diffusion of Contemporary Music (CDMC) for its Residencias season and premiered 11 June, 2007. This is a concertante work for piano and six instruments performed by the Ensemble Residencias, on this occasion comprising Trío Arbós, Juanjo Guillem, José Luis Estellés and Paul Cortese. Torres’ music is among the most lucid of our day, in terms of the rigour of his writing and the clarity of his ideas. This selection includes the most outstanding – in terms of performance or musical interest – concerts broadcast and recorded by Radio Clásica. The works selected by the EBU jury will be broadcast by member public radios, thus contributing to the diffusion of contemporary Spanish music.

Hèctor Parra presents his music in Munich

Posted by Redacción on January 28, 2008  |  Leave a comment

The DLD (Digital, Live, Design) Conference in Munich, Germany, provided a platform for the music of composer Hèctor Parra. DLD is one of the world’s leading showcases for digital design and interactions between art, science and technology, with the presence of many of the top names in this new network of creativity. Hèctor Parra, the only Spaniard present at the conference, appeared with the artist Matthew Ritchie, the art patron and impresario Francesca von Habsburg and the theoretical physicist Lisa Randall, who is collaborating with Mr Parra on a chamber opera project.

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