<\/p>\n
Masaot\/Clocks without Hands<\/em><\/p>\n Pelleas und Melisande<\/em><\/p>\n A symphonic poem deeply rooted in Romanticism and end-of-century decadence based on a drama by Maurice Maeterlinck,\u00a0Pelleas and Melisande<\/em>\u00a0dates back to Arnold Schoenberg\u2019s early period, together with the\u00a0Gurre-Lieder<\/em>\u00a0cycle (Songs of Gurre) and\u00a0Verkl\u00e4rte Nacht<\/em>\u00a0(Transfigured Night), with which correspondences can be drawn. With an orchestra that contains certain Straussian echoes, it is almost possible to hear the death rattle of a dying world and another world on the point of exploding.\u00a0Pelleas and Melisande<\/em>\u00a0also reflects the Viennese composer\u2019s creative evolution, with tonal language whose expressive tension was taken to extremes. Indeed shortly afterwards, he would embark on \u201ca more complex path\u201d, as he recalled at the end of his life.<\/p>\n With his close familiarity with musical tradition and his tendency toward quotation and paraphrasing, Luciano Berio transformed the Sonata for Clarinet and Piano in F Minor No. 1, Op. 120 into the concerto that Johannes Brahms never wrote for this instrument. He did it at a stage\u2013the 1980s\u2013in which transcriptions and reconstructions were common. On this occasion, Berio took the dense, meticulous score for piano that enfolds the soloist and created an arrangement for orchestra.<\/p>\n\n
\u00a0(2013-15) 24′ \u2013 National premiere<\/ul>\n<\/li>\n<\/ul>\n
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Arnold Sch\u00f6nberg:<\/ul>\n<\/li>\n<\/ul>\n
, Op. 5 (1902-1903; rev. 1920) 41’\u200e<\/ul>\n<\/div>\n
PERFORMERS<\/h2>\n<\/div>\n
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Barcelona Symphony Orchestra (OBC)\u200e<\/ul>\n<\/li>\n<\/ul>\n
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Andreas Ottensamer, clarinet<\/ul>\n<\/li>\n<\/ul>\n
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Matthias Pintscher, conductor<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n
PROGRAM<\/h2>\n<\/div>\n