A summary of the 2015-2016 Season with over 150 concerts divided into 27 projects, including diverse genres such as music theatre, jazz, the great classical repertory, world polyphonies and contemporary music. One of the most significant novelties is that the audio and video of the Wednesday concerts will be broadcast live, through www.march.es/directo
The composer Manuel López Jorge comments on certain important aspects of his work Montañas ao lonxe, which is performed by Mariana Todorova and Mariana Gurkova. López Jorge evokes the view of high mountains from a deep valley, using melodic and harmonic material based on the interval of a major sixth.
Literary evocation is a constant theme in the output of Joan Magrané, who often resorts to extra-musical elements in his creations and doesn’t relinquish the use of madrigalisms. In the case of Ombra sonante, two poems by Giambattista Marino and Robert Blair serve as a pretext to evoke the “oracle of the forest”, an “audible shadow”, a “bell” and an “invisible image” using musical means.
Josep Planells: Satz (world premiere)8:09DECEMBER 9, 2015
Josep Planells’s Satz, premiered during this concert, is divided into seven sections based on the chord formed by the seven notes held with the tonal pedal of the piano. This sound cluster, developed discreetly throughout the work, gives rise to a “neoexpressionist” language characterised by wide intervalic leaps and numerous portamenti in the violin.
Mikel Chamizo: Ráfaga (world premiere)15:35DECEMBER 9, 2015
En Ráfaga, Miguel Chamizo recurre a Pablo Sarasate como modelo de escritura virtuosística. Pero más allá de tomar a Sarasate como paradigma, incrusta citas literales de los Airs écossais Op. 34 y de los Airs espagnols Op. 18 del compositor pamplonés.
The well-known lied Der Doppëlganger serves as the departure point for Diego Ramos’s Fantasía sobre el Lied “Der Doppëlganger”. Composed in 2007 and revised in 2015, it begins with the same melodic opening as Schubert’s song; a gesture consisting of four mournful notes that reappear throughout the work. At the same time, these four notes harmonically articulate the work by giving rise to an octatonic scale that Ramos uses in a neo-modal context.
Francisco Coll composed Four Iberian Miniatures for orchestra in 2013, and created the version for violin and piano performed by Mariana Gurkova and Mariana Todorova two years later. Throughout the work, Coll evokes features from flamenco, but he does so from a satirical perspective whose intention is not to sublimate folklore through its incorporation in “art” music, but put forward an iconoclastic interpretation of tradition.