Masks for cla, vlc, pno (2019-21) “Tokyo to New York Concert” – September 12, 5 PM

Thomas Piercy “Tokyo to New York” Celebration will feature the newly edited “Masks” for clarinet, cello & piano.
Live performance at Scorca Hall, National Opera Center – 330 7th Avenue, New York, NY 10001. Date: September 12, 2021, 5:00 pm.

‘Duende’ for cello, September 17, 2021, in Koblenz (Germany)

Duende (from the collection Colores Andaluces for cello & piano) was arranged as a solo cello piece for Roger Morello Ross who will perform it on on September 17 at Stiftung Florinskirche in Koblenz (Germany). On August 7 he performed it at Sant Pere de Belltall, Belltall (Tarragona, Spain) during the celebration of ‘la Festa de l’All’.

‘Accents Catalans’, Australian premiere- West Coast Philharmonic, October 1, 2021, UWA

West Coast Philharmonic under the directions of Elise Chong will perform the Australian premiere of Accents Catalans (2016) for orchestra -October 1 2021  at the Winthrop Hall,UWA in Australia.

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.

October 28, 2021, Premiere of ‘Danses de la terra’ (Catalan danses) for cello by Roger Morelló Ros at Palau Güell in Barcelona

Danses de la terra (2020) (Catalan dances) for solo cello was written for Catalan cellist Roger Morello Ros. He will premiere this work at Palau Güell in Barcelona on October 28, 2021.

Danses de la terra was written for Morello and consists of four dances:

  • I. Ball d’entrada (Opening dance);
  • II. Dansa de rondalla amorosa (Dance of amorous tale);
  • III. Ball ceremonial de purificació (Ceremonial dance of purification);
  • IV. Records de sardana (Memories of sardana).

Although not literally based on traditional Catalan music, this work is inspired by the composer’s childhood memories of Catalonian dances and folk music. As a Catalan living outside Catalonia since 1978, the author recreates a Catalan sound world of melodic and rhythmic folk idioms tinged with emotions from her childhood. This concert will also include other solo cello works by Catalan composers such as Albert Sardà, Josep Maria Guix, and Gaspar Cassadó.

‘Accents Catalans’, USA premiere by The Florida Orchestra, 23 & 24 February, 2022, Clearwater and St. Petersburg.

The Florida Orchestra under the directions of Stuart Malina will perform the American premiere of Accents Catalans (2016) for orchestra -23 February 2022  at the Ruth Eckerd Hall in Clearwater, FL USA; and 24 February 2022 at Mahaffey Theater in St. Petersburg, FL USA.

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.

Performance of ‘Masks’ for clarinet, cello & piano at Primavera Musical a Vistabella, Tarragona, April 24, 20:30

A newly edited version of ‘Masks for clarinet, cello & piano‘ will be performed in Tarragona, Spain, at a beautiful modernist church Esglesia del Sagrat Cor de Vistabella within the concerts series titled “Primavera Musical a Vistabella” (Musica Spring in Vistabella). Performers will include Roger Morello Ros, cello; Oriol Estivill, clarinet; and Dani Ruiz Hurtado, piano.

“Imitacio del foc” for tenor & piano released on Bridge records

Imitacio del foc for tenor and piano was recently released on Bridge Records. This song cycle was commissioned and recorded by Jess Muñoz, tenor, and pianist Oksana Glouchko (with the expertise of producer/engineer Andreas Meyer) and is part of an album entitled Visca L’Amor: Catalan Art Songs of the XX and XXI Centuries. The Album is now available worldwide on all major platforms including ITunes, Amazon and Spotify. I am very proud to be in the company of such well-known Catalan composers as Frederick Mompou, Eduard Toldrà, Ricard Lamote de Grignon, Narcis Bonet, Joan Comellas.  Listen to some samples of the music 

Performance and recording of Violin works by Viktoria Kaunzner in Valencia (Spain), October 18

Ancient walls for solo violin and Wandering spirit for violin & piano were written in 2013 for violinist Rodrigo Puskas. Ancient Walls was premiered in Seoul and Wandering spirit was premiered in Barcelona, Spain. Viktoria Kaunzner will perform these works in Valencia (Spain) at the Teatro Capitolio de Godella on October 18 at 19:00.

Roger Morelló Ros, premiere of ‘Duende’ in Reus, Tarragona (Spain) on October 16, 2020

Catalan cellist, Roger Morello Ros, will premiere Duende, a solo cello work arranged for him from the set Colores Andaluces. It was a great experience for me to work with Roger, an excellent and resourceful cellist that enjoys collaborating with composers.  The premiere of Duende will take place on October 16, at 21:00, at the Opening Concert of the Chamber Music Series that Commemorates the Concert Association of Reus in Tarragona, Spain.

Recording of Sonata for flute and piano at the Esplanade on the Bay (Singapore)

This September Spanish flutist Roberto Alvarez and Ucranian pianist Kseniia Vokhmianina  recorded my Sonata for flute and piano at the Esplanade on the Bay in Singapore.  I can’t wait to hear the final release on the CD!