MÚSICA EN DANSA

Music fills the stage, and sound transforms into movement. The dancers come to life as they trace in the air the notes played by the orchestra. Musicians and dancers merge in an experience where each turn and every melody takes us on a journey full of rhythm and emotion. A meeting of two forms of expression, a dialogue between instruments and bodies in motion. Are you ready to see music and hear movement?

LUDWIG VAN BEETHOVEN – Symphony No. 9, Scherzo

This is the composer’s final symphony, later known as the “Choral” Symphony. It premièred on 7 May 1824 in Vienna amid great anticipation, as it was believed that it would be the musician’s last public appearance. Beethoven himself conducted the concert, despite being completely deaf. This symphony features unprecedented elements, including a quartet of solo voices (soprano, alto, tenor, and baritone) and a choir, in addition to a large orchestra. The second movement is particularly remarkable for its power and speed. Listen carefully, and you’ll appreciate just how forceful and dramatic this music can be!

JOAQUIM SERRA – Impressions Camperoles, “Festa”

Impressions Camperoles is a suite composed of five movements: “Albada,” “Mainada jugant,” “Sota els pins,” “La vall dels ecos,” and “Festa.” Originally written for cobla (a traditional Catalan wind ensemble), Serra later adapted it for symphony orchestra.
The final movement, “Festa,” has a joyful and festive character, featuring two themes in a contrapuntal style. At this moment, you will see how the dancers take centre stage, performing to this energetic and radiant melody.

MANUEL DE FALLA – El amor brujo, “Ritual Fire Dance”

This work is a ballet with a strongly Andalusian character, both musically and narratively. The protagonist, Candelas, is a beautiful young gypsy woman, who is in love with a jealous gypsy who dies. Candelas falls in love again, this time with Carmelo, but her former love returns as a ghost to torment her and prevent the new couple’s love from blossoming. To break the ghost’s hold, Carmelo enlists the help of Lucía, Candelas’ young and captivating friend. Through a clever ruse, they defeat the spirit and free themselves from its power. In the end, love and life triumph over memory and death.
The ballet premièred in 1915 in Madrid, but it was not initially successful. Falla continued to revise it over the following ten years, until it was finally premièred as a complete ballet in 1925.

LEONARD BERNSTEIN – Divertimento for Orchestra V: “Turkey trot”

This is the fifth movement of the Divertimento for Orchestra suite. It is a humorous piece that plays with very distinctive rhythms. It is based on a dance from the early 20th century, traditionally performed in the United States for Thanksgiving. The melodic line of this movement suggests that Bernstein was parodying the original dance.

FELIX MENDELSSOHN – Symphony No. 4, Saltarello

This symphony, also known as the “Italian,” premièred in London in 1833, conducted by the composer himself. It consists of four movements, with the Saltarello being the final one, written in presto tempo. The Saltarello is based on a fast and lively popular dance from Naples, traditionally performed during the Rome Carnival.
During the performance of this movement, you will see the dancers take centre stage, with the orchestra as their backdrop.

JOHANN STRAUSS – Perpetuum Mobile

The title of this work means “perpetual motion,” but Strauss gave it the subtitle “Musical Joke.” The piece showcases the individual virtuosity of the orchestra’s musicians, each taking turns over a repetitive accompaniment. It has no definite ending; instead, it stops when the conductor announces: “and so on, successively.”

IGOR STRAVINSKY – Pulcinella Suite, Serenata

Pulcinella is a ballet based on a 17th-century theatrical work centred on the character Pulcinella, set within the world of Commedia dell’arte. The protagonist is a wily and playful jester, caught up in schemes and romantic entanglements, from which he usually emerges victorious.

LEONARD BERNSTEIN – West Side Story, “Mambo”

You are probably familiar with this American musical, which premièred in 1957. It is an adaptation of Romeo and Juliet, centred on the rivalry between two youth gangs: one of European descent and the other Puerto Rican.
“Mambo” is one of the thrilling, Cuban-inspired numbers that will surely make you want to move — and that’s exactly what Bernstein wanted. For him, music was not just about writing or reading notes on a score, but about how it made you feel physically.

GEORGES BIZET – L’Arlésienne, “Farandole”

Bizet wrote the music for Alphonse Daudet’s play, which was a complete failure on stage. Following this lack of success, the composer reworked the material into an orchestral suite, which was much more warmly received by the public. After Bizet’s death, his friend Ernest Guiraud prepared a second orchestral suite, also based on themes Bizet had composed. “Farandole” is based on a traditional Provençal dance.

MATERIALS

Teaching guide and illustrations

A través dels següents enllaços accedireu a la guia didàctica i a les il·lustracions del concert.

ACCESS THE TEACHING GUIDE

Access the illustrations

VIDEO: PARTICIPATORY MOMENT TUTORIAL

Attention! At one point during the concert, we want you to be part of the show. It's very easy. You just have to follow the gestures and instructions of the performers.

CREDITS

Manel Valdivieso, musical direction
Glòria Balañà Altimira, stage direction
Elisenda Puig, educational direction
Mariana Giustina, choreographic direction
Xavier Benaque, Claudi Bombardó, and Laura Mas, choreography
Students from the 5th and 6th year of the Professional Dance Conservatory of the Institut del Teatre and Junior members of the National Youth Orchestra of Catalonia (JONC)
Sylvia Kuchinow, lighting
Paulette San Martin, costume designer
Sònia Alins, illustrator

Gloria Mas Chacori, artistic coordination
Marta del Olmo, head of the Educational Service at L’Auditori