<\/p>\n
Quartetto Maurice<\/em><\/p>\n Von contrapunctus VI<\/em><\/p>\n Natura morta con fiamme<\/em><\/p>\n Jack Quartet<\/em><\/p>\n The Wind in High Places<\/em><\/p>\n This double concert offers a broad overview of contemporary compositions for quartet, perhaps the most complex type of ensemble and one which testifies, even today, to a composer\u2019s skills. The concert\u2019s four premieres will bring the audience into contact with \u2018new names\u2019 in contemporary composition (given that the term \u2018young\u2019 has become increasingly difficult to define), with \u00c1lava-born composer\u00a0 Daniel Apodaka (whose influences go beyond music, since a large part of his work also strives to unite poetry, prose, painting and sound); Joan Arnau P\u00e0mies (whose work is strongly influenced by electronic music and the trend toward new complexities); Erin Gee (who combines her work as a composer and vocalist, with the voice playing a key role in her conception of sound, from phonetic to semantic aspects); and Eric Wubbels (whose main focuses of interest are contrasted ideas and the passage of time). In addition to these composers, we will also hear N\u00faria Gim\u00e9nez-Comas\u2019 tribute to Bach, since her composition revolves around one of his fugues from\u00a0The Art of Fugue<\/em>, exploring its resonances. This is also something that is closely pursued by Luther Adams, who works solely with open strings and natural harmonics, with a resulting hypnotic sound that shies away from displays of virtuosity. One of the main of protagonists of this kind of work is Giacinto Scelsi, a musician who works on each string of each instrument in a detailed, individual way.\u00a0 Fausto Romitelli, also bases his work on sound, albeit moving from technology to instrumental sound. Romitelli\u2019s\u00a0Natura morta con fiamme<\/em>\u00a0is the outcome of research by the composer from 1990 to 1991 at the French Institute de Recherche et Coordination Acoustique\/Musique (IRCAM), with the construction of a composition in the form of modules, made up of different sound objects, allowing for its formal organisation in blocks.<\/p>\n<\/div>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":"\n
Giacinto Scelsi: String Quartet No. 4 (1964) 12′<\/ul>\n<\/li>\n<\/ul>\n
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N\u00faria Gim\u00e9nez-Comas:<\/ul>\n<\/li>\n<\/ul>\n
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\u00a0(2018) 4′<\/ul>\n<\/li>\n<\/ul>\n
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Daniel Apodaka: New work (2022) 20′ \u2013 World premiere, commissioned by L’Auditori and Barcelona Creaci\u00f3 Sonora<\/ul>\n<\/li>\n<\/ul>\n
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Fausto Romitelli:<\/ul>\n<\/li>\n<\/ul>\n
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\u00a0(1991) 9′<\/ul>\n<\/li>\n<\/ul>\n
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Erin Gee: New work (2022) \u2013 National premiere<\/ul>\n<\/li>\n<\/ul>\n
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Joan Arnau P\u00e0mies: New work (2022) \u2013 World premiere, commissioned by L’Auditori<\/ul>\n<\/li>\n<\/ul>\n
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John Luther Adams:<\/ul>\n<\/li>\n<\/ul>\n
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\u00a0(2011) 16′<\/ul>\n<\/li>\n<\/ul>\n
Eric Wubbels: New work (2022) \u2013 National premiere<\/ul>\n<\/div>\n
PERFORMERS<\/h2>\n<\/div>\n
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JACK Quartet<\/ul>\n<\/li>\n<\/ul>\n
Quartetto Maurice<\/ul>\n<\/div>\n
PROGRAM<\/h2>\n<\/div>\n