Archive for category: Performances

Five Songs based on poems by F. Garcia Lorca (1986) for soprano and piano will be performed at Festival Musika-Música de Bilbao, in Palacio Euskaldunafestival on March 4, 2023, 17:30, by soprano Naroa Intxausti and pianist Aurelio Viribay in a recital dedicated to songs based on poetry by Federico García Lorca.

Uphill: from Clara to Robert for cello & piano (2021) was written for and dedicated to the Duo of cellist Roger Morelló Ros and pianist Anna Khomichkho. Uphill was inspired by a 16^th century poem of Pedro Padilla, and also inspired by Clara’s feelings over her caring of Robert and the interruption of her composing activities.

My inspiration to write this one movement work came from two sources. I was inspired by a poem by Pedro Padilla (16^th century Spain) entitled “Sierra áspera…” used by R. Schumann.  I tied this poem with Clara and Robert Schumann’s relationship. I took the side of Clara as the wife/caregiver of Robert Schumann and imagined her struggles and feelings.  Besides her duties as a wife and emotional support to Robert Schumann’s, Clara was also the mother of eight children, pursued her own career as a pianist/composer and left us 66 compositions.  She was regarded as one of the most distinguished pianists of the Romantic era, with over 61-years of concert career, changing the format and repertoire of the piano recital from displays of virtuosity to programs of serious works.

We know from her quotes that she felt insecure as a composer in a time when women were seen only as mothers and not fit to pursue creative endeavors such as writing music. There were no women composer models to be followed. A famous quote from Clara corroborates such feelings:

“I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to composer – there has never yet been one able to do it. Should I expect to be the one?”

Clara Schumann was a super woman doing it all, like many others during her time. This music is my way of honoring Clara Schumann.

©2021 Elisenda Fábregas

 

 

Sonata for flute and piano was written in 1995 for the late Tallon Perkes, first flutist of the San Antonio Symphony. I had the pleasure to work and perform with him in various occasions. This sonata was written and dedicated to him. It is very exciting to finally have a recording that does justice to this virtuosic composition.  Singapore based Spanish flutist Robert Alvarez and Ukranian pianist Kseniia Vokhmianina did a superb recording last year. In this challenging Sonata in which the piano is an equal partner with the flute, Roberto and Kseniia both exhibit a superlative musicianship and extraordinary technical mastery. The title of the CD is “The Whirldwind Whithin.” 

This is my own review of their recording: “Both performers clearly understood the spirit of the music and were able to bring it out with extraordinary musical confidence and precise technique.  They are both perfectly synchronized as an ensemble and demonstrated an amazing flexibility, changing quickly and convincingly among contrasting moods – from strong and energetic moods in the first and 4^th movements, to a playful interaction in the Scherzo, and to the poetic, dreamy and mysterious 2^nd movement.  The ensemble dynamics are also perfectly well balanced, especially in passages where the flute and the piano are in a kind of dialogue, responding to each other.  Alvarez plays with perfect intonation, tremendous clarity of articulation and control of dynamics. In the second ‘dreamy ‘movement, Alvarez shows his sensitivity and musicality in the beautiful quality of his tone and well-balanced phrasing. Kseniia is a great partner for Roberto, with absolute technical mastery of the keyboard, rhythmic and dynamic control, and showing an innate musicality. Her playing of the difficult last movement was most impressive, both technically and musically. In the last movement, both show their superlative technical mastery while always staying at the service of music and showing great musical understanding.”

Other works in this recording are also first time recordings and include works by Mike Mower, James Rae, Daniel Sánchez Velasco, José Elizondo, Gonzalo Casielles and Pablo Aguirre. The sonata has four movements and is published by Alphonse Leduc & Cie.   The recording of this Sonata will be released on June 3, 2022 during “The Whirlwind Tour” in Europe, with concerts in Madrid, Italy, Mallorca, and Zurich among others.

The San Cugat Symphonic Orchestra under the direction of Salvador Brotons will perform the  Spanish/Catalan premiere of Accents Catalans (2016) for orchestra on March 11, 2022, at the Teatre-Auditori, San Cugat del Valles; and on March 20, 2022, at the Teatre La Massa, Vilasar de Dalt.

Accents Catalans for Symphony Orchestra (2016) was commissioned by The Bucheon Philharmonic Orchestra, who under the direction of Youngmin Park, performed the World premiere at the Concert Hall, Seoul Arts Center Orchestra Festival, South Korea, on April 10, 2016. Video of premiere.

The score and parts of Accents Catalans are available for hire at Hofmeister MusicVerlag http://www.hofmeister-musikverlag.com

Accents Catalans is a one-movement work with three overall sections fast, slow, fast. The characteristic interval of perfect 4th (so prevalent in Catalonian music) is present in many of the selected tunes, including the initial introductory piccolo/flute call, unifying motivically this work. Rhythmic and melodic motives from all these Catalan folk songs above are used in its original form, as well as varied and developed, resulting in new material that connects the tightly knitted fabric.

“Accents Catalans” (Catalan Accents) is an homage to my native Catalonia, an area in the North-East of Spain with its own language, music and dance, known for its great gastronomy, artistic personalities, and fiercely independent culture. In Accents Catalans I represent symbolically some indigenous traits (or accents) of Catalonia which inspired me to write this work. They are: 1) ‘playfulness’, represented by the joyful and spirited national dance, sardana; 2) ‘magical innocence’ exemplified in the purity of their children’s songs; 3) ‘longing and sadness’ present in the haunting folk songs; and 4) ‘quick mood changes’ from major (happy) to minor (sad) mode in much of the Catalonian traditional music. Another characteristic that greatly appeals to me is the spirituality that transpires in some of the older Catalonian songs, imbued with the ancient sound of medieval Gregorian chant.

All the above traits (or accents) can be found in the more overtly ‘Catalonian’ moments present in Accents Catalans. These include the beginning mountain call in the piccolo and the flute, referencing the song titled ‘Mountain shepherds’ (Els pastors de les muntanyes), accompanied by the Provençal tambourine. Variations of this ‘pastoral call’ reappear throughout the work in the woodwinds, either in its entirety or partially, acting as a musical question, which is answered by a new contrasting section. This mountain call and its variations connect much of the music in this work.

After the initial mountain call section, a new tune, syncopated and in major mode is introduced. This tune is initially played by the French horns and later the whole orchestra, eventually developed and combined with a rhythmic motive from the final dance (Dance of Castellterçol), leading to the Giocoso section. ‘The dance of barley” (El ball de la civada) is the main protagonist in this Giocoso section, set in a joyous major mode first with the brass and then the whole orchestra in a festive mood. Two variations of this tune, each time faster, lead to an exciting climax. Eventually an abrupt mood change returns with the mountain call and leading to the Moderato Cantabile. This is the center of gravity of the work featuring the tune “The little boy” (El petit vailet). This tune is a popular Catalonian sardana appearing first on the bass clarinet (f# minor) solo accompanied by the sardana rhythm ( ) on the Provençal tambourine. The tune reappears dramatically in e minor with the full orchestra (Con passione) followed by several variations in triple rhythm. A later majestic entrance of the same tune in F# major occurs in the last section (Maestoso con spirito) played by the whole orchestra.

Before the final fast section, a timeless Incantato (enchanted) section featuring a Catalan tune “Dolls crying” (Les ninetes ploren) send us to a magical world with soft colors of woodwinds, wind chimes, harp, horns and strings. This is a dream world where time stops. But soon enough, the assertive final dance in minor blurts in, with driving syncopated rhythms, strong brass and full orchestra colors. This is based on the (Dance of Castellterçol) Dansa de Castellterçol. A couple of Playful sections in major mode change for a moment the mood to a child’s play before returning to the overtly rhythmical dance.