Repertoire

1st concert
CrossingLines
José Mora: Restos de Puente (2022) – World premiere. Commissioned by Barcelona Creació Sonora (approx. 35′)
José María Sánchez-Verdú: Machaut-Architekturen (2003-2005) – Selection (approx. 15′)

2nd concert
FRAMES Percussion and COSMOS QUARTET
Rebecca Saunders: Dust III for six percussionists (2018-2021) – Selection (approx. 25′)
Montserrat Lladó: Ariel (2022) – World premiere. Commissioned by Barcelona Creació Sonora (approx. 25′)

Artists

FRAMES Percussion
Ferran Carceller, Sabela Castro, Ramon Gardella, Dani Munarriz, Rubén Orio and Miquel Vich, percussion
Itziar Viloria, live electronics

Cosmos Quartet
Helena Satué and Bernat Prat, violin
Lara Fernández, viola
Oriol Prat, cello

Crossing Lines
Patricia de No, flute
Antón Seijas, clarinet
Tere Gómez, sax
Noé Rodrigo, percussion
Lluïsa Espigolé, piano
Bernat Prat, violin
Oriol Prat, cello
Francesc Prat, director
Pablo Carrascosa Llopis, synthesizers and artistic direction

Program

A minute analysis of sound.Dust is a good illustration of Rebecca Saunder’s work for two reasons: first, due to her interest in the writings of Samuel Beckett, viewed from a compositional standpoint (the piece is based on two quotes, one from The Unnamable and the other from That time by Beckett); and second, due to her minute analysis of sounds. Dust is a “film” that is deposited on objects, and it is from this perspective–from this “wordless thing in any empty space”–that she urges us to listen. José María Sánchez-Verdú is a composer with a fascination for cultural, spatial, artistic and temporal mixes. In Machaut-Architektur (Machaut-Architecture), he takes Guillaume de Machaut’s Messe de Nostre Dame (Mass of Our Lady) as his starting point, using some of its features in more contemporary style; for instance, “columns of sound” generated by the instruments (as opposed to the former custom of vocal columns) or rhythmic repetitions (talea) used as structural aids. Both pieces will enter into dialogue with the two premiered works: Montserrat Lladó’s music, characterised by deep–often gloomy–layers of textural sound, and José Mora’s concise work, reflecting his own personal imaginative approach to composition.