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See the concert live at L’Auditori or follow it on-line at L’Auditori Digital on Tuesday, February 2, 2021 at 7 p.m.

Ludvan ven Beethowig



    Clara Iannotta: Dead Wasps in the Jam-jar (i)
    Violin 3’ 20´´
    Natacha Diels: Symbiosis II
    Violin, cello, piano and computer 8’
    Bryan Jacobs: Dis Un Il Im Ir
    Flute, piano and midi keyboard 5’
    Clara Iannotta: D´ après
    Flute, clarinet, piano, percussion, violin, viola and cello 8’
    Clara Iannotta: The people here go mad. They blame the wind
    Clarinet, cello and piano 10’
    Daniel Moreira: Countdowns
    Flute, clarinet, sax, horn, trumpet, trombone, percussion, piano, viola and cello 7´
    Daniel Moreira: Rhythmic Study 4b - Ludvan ven Beethowig
    Piano or 2 toy pianos 3´


    Ophélie Derieux, flute
    Víctor de la Rosa Llorente, clarinet
    Tere Gómez, sax
    Marc Garcia, horn
    Ramon Figeras, trumpet
    Héctor Penades, trombone
    Ismael Azidane, percussion
    Lluïsa Espigolé, piano
    Haize Lizarazu, piano
    Elena Rey, violin
    Nina Sunyer, viola
    Mónica Marí, cello
    Lorenzo Ferrándiz, conductor
    Pablo Carrascosa Llopis, artistic direction and electronics
    • €10
    • Hall 2 Oriol Martorell
    • Sampler Series

    Crossing Lines presents a portrait of two of several suggestive authors on the current international scene.


    Supported by:

    Supported by:


    Clara Iannotta works on music that explores the extremely subtle registers and thresholds of listening, often using harmonic amplification to make the process of acoustic signal decay or the extinction of the resonance of vibrating bodies audible. The fascination for Dorothy Molloy's poetry nurtures several works in her catalogue, such as dead wasps in the jam-jar, music conceived to be interspersed between the movements of Partita no. 1 by J. S. Bach and made from the Corrente of this piece, and as The people here go mad. They blame the wind, a work that closes a cycle especially focused on the echo of the bells and the mechanisms of music boxes. D'après, for ensemble, is part of a trilogy based on the fascination with the suspension of the resonance of the Freiburg chime, and how sound memory can be transformed through repetition.
    Two pieces by Brazilian Daniel Moreira close the concert. Countdowns, a work based on the countdown as a generator of dramatic potentialities, and Rhythmic etude 4b, an original deconstruction process with toy instruments that revisits Luwdig van Beethoven's Für Elise as an infamous mass product.

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