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Noches en los jardines de Espa\u00f1a<\/em><\/p>\n Death and Transfiguration<\/em><\/p>\n The Romantics pursued the idea of transcendence as an aesthetic and philosophical goal. Richard Strauss\u2019s symphonic poem\u00a0Tod\u00a0und\u00a0Verkl\u00e4rung\u00a0<\/em>(Death and Transfiguration) is a paradigmatic example. Rather than following a literary programme laid down beforehand, the work focuses on the themes of artistic sublimation and eternity. The score portrays mundane events in sound, such as the uneven beating of the artist\u2019s heart or the description in sound of the moment when his soul leaves his body, but the backdrop to the work is much more profound. In its final minutes, the composer endeavoured to convey an emotion that is difficult to put into words.<\/p>\n\n
\u00a0(Nights in the Gardens of Spain) (1915) 25\u2019 \u2013 Transcription by Joan Lamote de Grignon<\/ul>\n<\/li>\n<\/ul>\n
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Gilda Lyons: La flor m\u00e1s linda (2019) 7\u2019<\/ul>\n<\/li>\n<\/ul>\n
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Richard Strauss:<\/ul>\n<\/li>\n<\/ul>\n
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, Op. 24 (1891) 25\u2019 \u2013 Transcription by Llu\u00eds Oliva<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n
PERFORMERS<\/h2>\n<\/div>\n
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Barcelona Symphonic Band<\/ul>\n<\/li>\n<\/ul>\n
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Sofya Melikyan, piano<\/ul>\n<\/li>\n<\/ul>\n
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Jos\u00e9 R. Pascual-Vilaplana, conductor<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n
PROGRAM<\/h2>\n<\/div>\n