On 8 November, the Chamber Music Season will present the Trio Pedrell, in collaboration ‎with the Robert Gerhard Centre and FICTA Music. The trio is formed by violinist Christian ‎Torres, cellist Ferran Bardolet and pianist Jordi Humet, and will be performing at L’Auditori’s ‎Alicia de Larrocha Hall 4, in a concert that will recover Robert Gerhard’s Trio No. 1 in B major. ‎This event will also feature the presentation of Arrels, the Trio Pedrell’s first disc with FICTA ‎Music.‎

The origins of this music go back to 1918, the year when Robert Gerhard composed two trios ‎with piano. The first work was premièred that same year at the Palau de la Música Catalana, ‎while the second was not premièred until four years later at the same venue.‎

The Trio Pedrell is a young chamber music group that has already won awards at numerous ‎Spanish and international competitions. One hundred years after Gerhard wrote his trios, in ‎this concert the young ensemble will perform the first of the trios – hitherto unpublished and ‎conserved in the Institut d’Estudis Vallencs’ Robert Gerhard Archive – together with ‎Gerhard’s celebrated second trio. They will also be performing the two Nocturns-trio by ‎composer and musicologist Felip Pedrell, a teacher whose students included Robert Gerhard, ‎Enric Granados, Manuel de Falla, Isaac Albéniz, Lluís Millet and Cristòfor Taltabull, among ‎many others.‎


‎Commited to recovering the Catalan repertoire ‎

This concert is the culmination of a comprehensive recovery project that includes the release ‎of Gerhard’s unpublished score and the recording of the same programme we will hear in ‎the concert, the first album from the Trio Pedrell, recorded at L’Auditori’s Alicia de Larrocha ‎Hall 4.‎

In addition to the new release of Gerhard’s work, the other great contribution made by this ‎album is the recording of Pedrell’s Nocturn-trio using a harmonium, as the composer had ‎intended. This was possible thanks to the collaboration with organist Juan de la Rubia. ‎According to Jordi Humet, ‘incorporating the harmonium makes the work take on a different ‎character, even closer to the ambience evoked by the title’. ‘We have played this work many ‎times ourselves as an encore at concerts, and hearing it now with the harmonium makes you ‎perceive it differently,’ explains Humet.‎

With this music, L’Auditori continues with its line of projects fostering the recovery and ‎dissemination of Catalan musical heritage.‎