Benet
Casablancas Domingo
Benet, Casablancas Domingo
* LA BBC SYMPHONY ORCHESTRA ESTRENA EN INGLATERRA LAS 'SIETE ESCENAS DE HAMLET'
La BBC Symphony Orchestra, dir. por Josep Pons, presenta en Londres las 'Siete Escenas de Hamlet' (Temporada 2008-2009, Londres, Barbicane, 24 octubre 2008). La parte solista corrió a cargo del actor Ray Fearon, colaborador habitual de la Royal Shakespeare Company.
La presente obra cuenta entre las más difundidas de su autor, superando ya -en sus formatos camerístico y orquestal- las 24 reposiciones, dentro y fuera de España, la última de ellas en el Musikverein de Viena en abril de este mismo año. La obra será grabada próximamente por la Orquesta de la Comunidad de Madrid, bajo la dirección de José Ramón Encinar, para el sello STRADIVARIUS. El concierto, que incluye también obras de Falla, Turina y Ravel, será retransmitido en directo (7 pm) por la BBC.

http://www.barbican.org.uk/music/event-detail.asp?ID=7343

London, Barbican: Benet Casablancas

Music which develops and counterpoints, rather than merely illustrates, Shakespeare’s play provides the original appeal of the Set escenas de Hamlet (Seven scenes of Hamlet) by the Spanish composer Benet Casablancas. It received a thrilling UK première by the BBC Symphony Orchestra, with the actor Ray Fearon as reciter, under the dynamic baton of Josep Pons. He was making his impressive UK concert debut at a capacity Barbican Hall on 24 October 2008, the concert being broadcast live on Radio 3. With its unusual format of seven recitations followed by seven orchestral reflections, Set escenes de Hamlet – conceived first in 1989 for chamber ensemble – displayed rich, finely wrought contrapuntal textures, with plenty of dramatic excitement and affecting lyricism. Casablancas’s idiom, often redolent of Henze’s sumptuous translucence, Boulez’s intricacy and even Birtwistle’s weightiness, also echoes a Bergian expressionism. That attests to his twin influences, which, like those of Roberto Gerhard, stem from the Second Viennese School (he studied with Friedrich Cerha) and the ‘Spanish tradition’ of Falla – whose fiery ballet El amor brujo (with an authentic Flamenco singer, Ginesa Ortega), formed the sunny Spanish context in the remainder of the programme alongside Turina’s colourful Danzas fantásticas and Ravel’s Rhapsodie Espagnole.

The music is divided into seven aphoristic responses to Shakespeare’s tragedy, compressed ingeniously into seven soliloquies, all but the first by Hamlet. The ‘Prologue’, Horatio’s encounter with the King of Denmark’s ghost, gives rise to suitably eerie shimmering textures for celeste, string harmonics, undulating woodwind, and overlapping solo melodic figures. The second interlude’s searing, effervescent energy reflects Hamlet’s anger at his mother’s remarriage in explosive gestures balanced by the contrapuntal clarity of oboe and violin solos, while expansive drum-rolled dissonances prepare the three portraits: Hamlet, Ophelia and Yorick. The profundity of ‘To be or not to be’ is rendered in a throbbing double fugue; lyrical subjects and sprightly countersubjects dovetail like insects crowding on a watery leaf, with a climactic percussion interruption before the subjects scamper into silence. The unusual structural rapport of text and music was demonstrated in the ‘Ophelia’ movement, where Ray Fearon’s ever-characterful racy recitation, ending in the line ‘Get thee to a nunnery’, was counteracted unexpectedly by the elegiac slowness of the solo flute melody, taken up by bass clarinet and low strings. A finde-(19th)-siècle nostalgia pervades what the composer described, in the pre-concert interview, as the work’s ‘great Adagio’. Yet it also combéis Hamlet’s abrupt aggressiveness towards Ophelia – who, significantly, receives the most intense music, as shown in the eloquent string quartet threnody which ends the sixth movement ‘Yorick. Burial of Ophelia’. Here music and text come together for the first time in a Melodrama, with clear hints of Sprechgesang and film music, in such clichéd gestures as tense chords after ‘Alas, poor Yorick’. Yet overall the purely musical level of discourse is persuasive, as in the sizzling scherzo, ‘Party of Players’, in which Hamlet teases out the truth from the play-within-a-play, evoked in a dancing web of musical quotations (including an Elizabethan jig). The explosive climax, however, is the highly-charged finale: this encapsulates how the music is comment rather than illustration, in that its brass-led eruption after the poignant words ‘The rest is silence’ potently resists the words’ overt meaning to the last.

Casablancas’s Easterly fusion of operatic and symphonic discourse represents an innovative genre which speaks with intimacy and power; one hopes his more recent works – they include another inspired by the Bard, The Dark Backward of Time, based on The Tempest – will reach UK audiences soon.

Malcolm Miller

Tempo, Volume 63, Issue 248, April 2009, pp 54-55

4 Published by Novello in 2008.
http://journals.cambridge.org

Text sample : (3426 kb.) download
Benet Casablancas at the 'ISCM World Music Days 2008' of Vilnius
Benet Casablancas at the 'ISCM World Music Days 2008' of Vilnius
The work 'New Epigrams', for chamber orchestra, by Benet Casablancas has been included in the programme of the Festival of the International Society for Contemporary Music 'ISCM World Music Days 2008', that will celebrate this year in Vilnius (Lituania). The work, the sole spanish presence in the present edition of the Festival, will be played on next 27th october in the Town Hall of the lituania´s capital by Ensemble Cantus from Croacia. The international jury, that made the selection between more than 350 scores proposed by the diferents nationals sections of the ISCM, was integred by so prestigious personalities as Peter Eötvös, Jonathan Harvey, Luca Francesconi, Onute Narbutaire and Helena Tulve. The 'New Epigrams' have been performed before in London (The London Sinfonietta Perspective), Strassbourg (Festival Musica), Amsterdam (Holland Festival), Düsseldorf (Bienal Ohren Musik aus Europa), Saint Petersburg (State L´Hermitage Orchestra), La Tour-de-Trême (Orchestre de Chambre de Lausanne), Oberlin (Ohio, USA), Vienna ('Portrait Benet Casablancas', II Spanien Modern, Musikverein) as well as in several spanish cities.
Text sample : (4919 kb.) download
CONCIERTO MONOGRAFICO en el MUSIKVEREIN de VIENA
'Benet Casablancas Portrait'. II Festival 'Spanien Modern'.
Eine Plattform für die Zeitgenössische Spanische Musik in Wien.

PROGRAMA: 'Siete Escenas de Hamlet', 'New Epigrams', 'In modo di Passacaglia' y 'Celebració'. Barcelona 216, Carlos Hipólito, dir: Manuel Valdivieso.

Viena, Musikverein, Glässserner Saal, 9 de abril 2008

MONOGRÁFICO DE BENET CASABLANCAS EN EL MUSIKVEREIN DE VIENA

El próximo 9 de abril de 2008 tendrá lugar en la prestigiosa sala del Musikverein de Viena un concierto monográfico integrado por diversas obras para orquesta de cámara de Benet Casablancas. El concierto, que cuenta con la participación del conjunto barcelonés Barcelona 216 y el actor Carlos Hipólito en la parte solista, todos ellos dirigidos por Manuel Valdivieso, se enmarca en la segunda edición del ciclo 'Spanien> Modern', organitzado por el Instituto Cervantes de Viena, y con el patrocinio del Institut Ramón Llull. Entre las obras interpretadas destacan de una manera particular las 'Siete Escenas de Hamlet', para recitador y orquesta de cámara, una de las realizaciones más divulgadas> del compositor catalán. El programa se completa con las siguientes obras: 'New Epigrams', 'In modo di Passacaglia', y 'Celebració'. Piezas todas ellas que fueron grabadas recientemente por los mismos intérpretes> par su inclusión en un disco de inminente publicación.

http://www.musikverein.at/konzerte/konzertprogramm.asp?idx=18501

Text sample : (697 kb.) download
Benet Casablancas, nuevo disco y presentación de obra en prestigioso certamen
La obra del compositor Benet Casablancas está en un momento de máximo despegue tanto nacional como internacional. El sello Naxos publicará en junio dentro de su colección 'Spanish Classics' un monográfico dedicado a su música para piano, que a cargo de Jordi Masó y Miquel Villalba recogerá entre otras piezas Tres divertimentos (para dos pianos), Scherzo, Tres bagatelas, Tombeau o Seven Epigrams. Y en otoño de este 2008 aparecerá en Warner Cinc Cançons i Danses de Frederic Mompou, con orquestación de Casablancas, dirigiendo Antoni Ros-Marbà a la Orquesta Filharmonia de Galicia.

Por lo demás otra composición, New Epigrams para orquesta de cámara, ha sido incluida en la programación del Festival de la Sociedad Internacional de Música Contemporánea 'ISCM World Music Days 2008', que se celebra este año en Vilnius (Lituania). La obra, que constituye la única presencia española en la presente edición del certamen, será interpretada el próximo 27 de octubre en el Town Hall de la capital lituana por el Ensemble Cantus de Croacia. El jurado internacional encargado de hacer la selección -entre las más de 350 partituras presentadas por las distintas secciones nacionales de la SIMC- estaba integrado por personalidades como Peter Eötvös, Jonathan Harvey, Luca Francesconi, Onute Narbutaire y Helena Tulve. New Epigrams se ha interpretado anteriormente en Londres, Amsterdam, Düsseldorf, San Petersburgo, Oberlin (Ohio, USA) y Viena, así como en distintas ciudades españolas. Entre las próximas interpretaciones de dicha obra destacan las que protagonizará el Perpectives Ensemble de Nueva York bajo la dirección de Angel Gil Ordóñez en el marco de un Composer Portrait en el Theater Miller New York (february 2010).

Y ello estando aún reciente la celebración de sendos conciertos monográficos en el Auditorio Nacional de Madrid (Ciclo 'Música de Hoy 2008', Trio Kandinsky y Salvador Salvador; 6 marzo 2008) y en el Musikverein de Viena ('Portrait Benet Casablancas', II Festival 'Spanien Modern', Orquesta de Cámara Barcelona 216 y Carlos Hipólito bajo la batuta de Manuel Valdivieso; 9 abril 2008), y diversos conciertos en San Salvador (XI Festival Internacional de Música Contemporània), Barcelona (Festival 'Nous Sons'), Las Palmas de Gran Canaria (Paraninfo de la Universidad). Las obras de Casablancas estarán también presentes en el Festival 'Ensems 2008' de Valencia, esperando al compositor durante los próximos meses importantes compromisos dentro y fuera de nuestras fronteras, entre los que destaca el estreno en Londres de las Siete Escenas de Hamlet (BBC Symphony Orchestra dirigida por Josep Pons; Barbicane, 24 octubre 2008), además de conciertos en Caracas (Festival A Tempo, julio 2008), Segovia (XIV Jornadas de Música Contemporánea de Segovia; noviembre 2008) y el estreno mundial de la pieza para coro mixto y piano Jo tem la nit (Encargo del Cor de Cambra del Palau; diciembre 2008).

Noticias en diverdi.com

viernes, 16 may 2008

NATIONAL MUSIC AWARD 2007
Benet Casablancas recibe el Premio Nacional de Música que otorga la Generalitat de Catalunya, por 'conjugar de manera brillante las facetas de músico, compositor y pedagogo' y por la diversidad de géneros y disposiciones instrumentales, que va 'desde la música de cámara más sutil hasta la gran creación sinfónica, de gran modernidad, profundo sentimieno y discurso imaginativo'.
NOTA DE PRENSA (Septiembre 2008)
BENET CASABLANCAS - NOTICIAS DE ACTUALIDAD
(septiembre 2008)

* Las 'Siete Escenas de Hamlet' programadas en Londres dentro de la temporada de la BBC Symphony Orchestra. El concierto, dirigido por Josep Pons y dedicado todo él a la música española, será emitido en directo por la BBC (7 p.m.)
http://www.barbican.org.uk/music/event-detail.asp?ID=7343

* Los 'New Epigrams' de Benet Casablancas seleccionados en el Festival de la SIMC en Vilnius (27 de octubre 2008). Será ésta la única presencia española en la programación del festival
http://www.wmd2008.org/en/info/47

* La obra 'Alter Klang', encargo de la ONE y cuyo estreno tuvo lugar en Madrid en 2007, será estrenada el próximo año 2009 en Holanda (gira de 6 conciertos con la NJO of the Netherlands), Bélgica (Bruselas, Amberes, Orchestre National de Belgique) y Suecia (Symfoni Orkester Malmó)

http://www.njo.nl/default.asp?cntCat=1&cntId=4
http://www.elisabethzaal.be/scripts/kalender/KalenderItem.asp?ID=340&ff=&page=3&srt=8
http://www.onb.be/fr/concerts/Fête_de_la_Musique__Walter_Weller.html?id=1188&o=2&n=0&b= http://www.mso.se/sv/Konserter/Konsertkalendern/Period-20082009/April-09/JOSEP-x-2/

* Publicación de la obra pianística en NAXOS, en versiones de Jordi Masó y Miquel Villalba

http://www.naxos.com/catalogue/item.asp?item_code=8.570757#
http://www.prestoclassical.co.uk/r/Naxos/8570757

===>

PRESS REVIEW
Benet Casablancas at the 'ISCM World Music Days 2008' of Vilnius

The work 'New Epigrams', for chamber orchestra, by Benet Casablancas has been included in the programme of the Festival of the International Society for Contemporary Music 'ISCM World Music Days 2008', that will celebrate this year in Vilnius (Lituania). The work, the sole spanish presence in the present edition of the Festival, will be played on next 27th october in the Town Hall of the lituania´s capital by Ensemble Cantus from Croacia. The international jury, that made the selection between more than 350 scores proposed by the diferents nationals sections of the ISCM, was integred by so prestigious personalities as Peter Eötvös, Jonathan Harvey, Luca Francesconi, Onute Narbutaire and Helena Tulve. The 'New Epigrams' have been performed before in London (The London Sinfonietta Perspective), Strassbourg (Festival Musica), Amsterdam (Holland Festival), Düsseldorf (Bienal Ohren Musik aus Europa), Saint Petersburg (State L´Hermitage Orchestra), La Tour-de-Trême (Orchestre de Chambre de Lausanne), Oberlin (Ohio, USA), Vienna ('Portrait Benet Casablancas', II Spanien Modern, Musikverein) as well as in several spanish cities.

The music of Benet Casablancas has reached a growing national and international projection. When it´s recent yet the celebration of diverse monographic concerts in the Auditorio Nacional de Madrid (Ciclo'Música de Hoy 2008', Trio Kandinsky, Salvador Salvador; 6 march 2008) and Musikverein in Viena ('Portrait Benet Casablancas', II Festival'Spanien Modern', Orquesta de Cámara Barcelona 216, Carlos Hipólito, cond. M. Valdivieso; 9 april 2008) and new performances in San Salvador (XI Festival Internacional de Música Contemporánea), Barcelona (Festival 'Nous Sons'), Las Palmas de Gran Canaria or Valencia (Festival 'Ensems 2008'), Casablancas´s commitments for the next months include importants national and international events, between them the UK Prémiere in London of the 'Seven Scenes from Hamlet' (BBC Symphony Orchestra, cond: Josep Pons; Barbicane, 24th october 2008), National Youth Orchestra of the Netherlands (2009, january), tournée in Holland and Belgium, including Amsterdam Concertgebouwn, Utrecht, Rotterdam, Gant, etc.), Malmö Symfoni Orkester (Sweden), Orchestre National de la Belgique (Bruxelles), as well as others performances in Caracas (Festival A Tempo, july 2008), Segovia (XIV Jornadas de Música Contemporánea de Segovia; november 2008), Köln (Plural Ensemble), Istambul (Trio Arbós), Tokio and New York (Trio Kandinsky), and the World Prémiere in Barcelona of the new piece for chor and piano, 'Jo tem la nit' (Commissioned by Cor de Cambra del Palau; december 2008). In paralel, it is yet imminent the issue of two news CDs: 'Benet Casablancas: Piano Music' (Jordi Masó and Miquel Villalba, piano; NAXOS 8.570757, 'Spanish Composers Series'; june 2008) and 'Cinc Cançons i Danses de Frederic Mompou' (orchestrated by Benet Casablancas). Orquesta Filharmonia de Galicia, cond: A. Ros-Marbà (WARNER, autumn 2008).

New Epigrams, for chamber orchestra

'New Epigrams', written in June 1997, was commissioned by the town Council of Sabadell for a recording project with the London Sinfonietta. The work is scored for flute (also piccolo), clarinet (also bass clarinet), bassoon, horn, trumpet, trombone, piano, violin, viola, cello and double bass. For Jonathan Harvey, one of the characteristics of the writing of Casablancas is the presence of the classic recourse to polyphony, his work on the voices that parody and transform the initial material, but which simultaneously promote vertical harmonic forms that act together. His language, vital, energetic, at times vehement, sharp, does not reject lyrical intensity. The slow tempos, the use of open spaces, without instrumental multicoloring, the expressive will, are very meaningful, the product of a progressive formal concentration. A conscious work on form and a synthetic and concise projection lead to the idea of the epigrammatic, a concept or literary expression of no small interest for Casablancas. The word epigrammatic, of course, both in poetry and in prose, is related to the idea of synthesis, of expression in a brief space, of a thought characterized by sharpness, the satirical, the incisive. 'New Epigrams' is in three mouvements, very contrasted in tempo and character, and his duration is about 11 minutes; the development of the outer mouvements demands a real virtuosistic playing, specially in the finale. The first mouvement, notable for its brevity, intensity, and contrasted sonorities, its dissonant chords fading in brief solo phrases, establishes a forceful and complex range of textures with timbral expressiveness. His dramatic, almost violent intensity is a powerful contrast to the mysterious, nocturnal atmosphere of the second, very calm and showing very refined and static textures. This beautiful slow movement presents nuances and effects that are highly subtle in harmony, in richness of counterpoint and significant encounters in the high treble within a translucent sonic filigree. When this unreal mood has dissolved into nothing, the final epigram appears, rhythmic, with luminosity in the overall section, with its happy trills and fresh, brilliant sound, with the principal piano part giving it almost the character of a finale concertante, progressively gaining in density toward an ending that is newly meaningful.

In Harvey´s words: 'Casablancas writes with a classic polyphonic clarity that is uncommon these days. The vitality and energy of his work is well-known - sudden switches of direction within a very short span give a superbly exhilarating and exuberant quality in the fast movements. The slow movements are softer and more veiled; the bright Spanish light is nocturnal and one hears more blend than brilliant blare. The polyphony here takes on a hierarchical aspect. That is to say, some layers become principal, others are ornamental, decorative. Texture is complex rather than multi-polyphonic. Atmosphere and mood are subtle and suggestive rather than classically clear, harmonics appear, giving non-tempered pitches. One willingly acquiesces in landscapes of the imagination, with birdsong, perhaps. Even here the form, of the phrases, of the sections, of the movements, remains clear, the attention gripped; but not quite 100% is given, we know there is more to it, below the surface.'


From his public prémière in Barcelona on 15 november 1997, by Chamber Orchestra of Teatre Lliure conducted by Josep Pons, 'New Epigrams' have been widely performed in all Europe and USA: Festival Musica Strasbourg (O. C. Teatre Lliure, 1999), XVI Festival Internacional de Alicante (Grupo Enigma, 2000), Saint Pertersburg (State Hermitage Orchestra, 2003), Biennale fur Neue Musik 'Öhren auf Europa' of Düsseldorf (Notabu Ensemble für Neue Musik, 2003), La Tour-de-Trême (Orchestre de Chambre de Lausanne, 2004), Madrid (Modus Novus, 2006), Oberlin (Contemporary Music Ensemble, Ohio, 2007), Barcelona (BCN 216, Auditorio, 2008), Wien ('II Spanien Modern', Musikverein, 2008), Zagreb (Cantus Ensemble Croatia, cond. B. Sipus, november 2008) or Valencia (Grup Instrumental de València, cond. J. Cerveró). His recordings include: The London Sinfonietta 'Perspectives' (Ensayo ENY-2001, Barcelona, 1999), 'Benet Casablancas: Epigramas. Obras para piano, cámara y orquesta', Spanish Composers of Today/Compositores de Hoy, Vol. 7 (EMEC/Fundació Música Contemporània E-068, Madrid, 2005) and 'Benet Casablancas: Chamber Works' (Barcelona 216, dir: M. Valdivieso; NAXOS 8.579004, 2010).







* * *


http://www.wmd2008.org/en/home
http://www.barbican.org.uk/music/event-detail.asp?ID=7343
http://www.diverdi.com/tienda/noticiasd.aspx?id=1908
http://www.musikverein.at/konzerte/konzertprogramm.asp?idx=18501
http://www.diverdi.com/tienda/noticiasd.aspx?id=1712
http://www.elpais.com/articulo/cataluna/Quiero/inquietar/emocionar/musica/hacer/concesiones/elpepucul/20080409elpcat_25/Tes

EVENTS
2007

* 'Tres Epigramas', Malmö Symfoni Orkester, Ray Fearon, dir: Josep Pons (Malmö, Suecia)

* 'Introducción, Cadenza y Aria', International Ensemble Modern Akademie (Frankfurt, Alte Oper)

* Festival 'A Tempo' de Caracas (Venezuela)

* 39º Festival Internacional 'Encuentros' de Buenos Aires (Argentina)

* 'Retablo sobre textos de Paul Klee' (WORLD PREMIERE). Encargo de la Fundación Canal. Solistas vocales de la ORCAM (Madrid)

* 'Alter Klang', Orquesta Filarmónica de Gran Canaria, dir: Gisèle Ben-Dor

* 'New Epigrams', Contemporary Music Ensemble, dir: Timothy Weiss, Warner Concert Hall, Oberlin College Conservatory of Music, Oberlin (Ohio, EE.UU.).

* 'The Dark Backward of Time' para orquesta, Obra Finalista del Premio de Composición Prince Pierre de Monaco 2007 (Consejo Musical: H. Dutilleux, B. Jolas, C. Halffter, J. Anderson, A. Pärt, A. Reimann, N. Bonet, I. Fedele).

* Premio Nacional de Música 2007 de la Generalitat de Catalunya

2008

* 'Impromptu (Trio núm. 2)', Trio Arbós (Estambul, 'Jornadas de Nueva Música Mediterránea', I-08).

* 'Impromptu (Trio núm. 2)' para violín, violonchelo y piano, Trio Kandinsky (Barcelona, Barcelona, Festival 'Nous Sons', I-08).

* 'Encore', para violín y piano, Josep Colomé y José Enrique Bagaría (San Salvador, El Salvador, XI Festival Internacional de Música Contemporània de San Salvador, II-08).

* 'Epigramas' para seis instrumentistas. Plural Ensemble, dir. Fabián Panisello (Barcelona, Festival 'Nous Sons'; Madrid, III-08)

* 'Epigramas', para sexteto Ensemble Contemporáneo de Las Palmas, dir: José Brito (Las Palmas de Gran Canaria, III-08)

* MONOGRÁFICO Benet Casablancas (Movimiento para Trio, Dos Piezas para clarinete y piano [I. Poema;II. Moment Musical], Impromptu -Trio Núm. 2-, Passacaglia para violín solo (WORLD PREMIERE), Tríptico, para violonchelo solo, Cant per a F. Mompou -remembrança- para violonchelo y piano, Haiku para Trio, Introducción, Cadenza y Aria, para violín, clarinete, violonchelo y piano). Ciclo 'Música de Hoy 2008'. Trio Kandinsky (Corrado Bolsi, Amparo Lacruz, Emili Brugalla), Salvador Salvador, clarinete (Madrid, Auditorio Nacional, 6-III)

* MONOGRÁFICO 'Benet Casablancas Portrait' ('Siete Escenas de Hamlet', 'New Epigrams', 'In modo di Passacaglia', 'Celebració'). Orquesta de Cámara Barcelona 216, Carlos Hipólito, dir. Manuel Valdivieso. II Festival 'Spanien Modern' (Wien, Musikverein, Glässerner Saal, 9-IV).

* '3 Haikus' para piano (WORLD PREMIERE), 'Siete Epigramas'. Jordi Masó, piano (Barcelona, 14-IV)

* 'Tre Divertimenti', para piano a cuatro manos. Dúo Maria Lourdes y Lluís Pérez Molina (Reus, Mora d´Ebre, Tarragona, 25 y 27-IV)

* 'Encore for Arditti' para cuarteto de cuerda. Quartet de corda de l´OBC (Barcelona, 27-IV)

* 'Movimiento para trio'. Trio Kandinsky
Festival 'Ensems 2008' (Valencia, Instituto Francés, 23-V)

* 'New Epigrams' para orquesta de cámara. Grup Instrumental de València, dir: Joan Cerveró (Valencia, Teatro Talia, 24-V)

* CD 'Benet Casablancas: Piano Music'. Jordi Masó y Miquel Villalba, piano ('20th Century Spanish Composers Series', NAXOS 8.570757, to be released june 2008)

* 'Dos Apunts' para piano. Alba Ventura. Festival A Tempo (Caracas (Venezuela), july 2008)

* 'Siete Escenas de Hamlet', BBC Symphony Orchestra, dir: J. Pons (Londres, Barbicane, 24-X)

* 'New Epigrams'. Ensemble Cantus (Croatia)
ISCM World Music Days 2008 (en representación de España)
(Jurado: Peter Eötvös, Jonathan Harvey, Luca Francesconi, Onute Narbutaire y Helena Tulve)
(Vilnius, Lituania; Town Hall, 21:30, 27-X)

* 'Movimiento para trio'. Brouwer Trio
XIV Jornadas de Música Contemporánea de Segovia (XI-2008).

* 'New Epigrams'. Cantus Ensemble Croatia, cond. Berislav Sipus
(Zagreb, Vatroslav Lisinski Small Hall, 11-X)
(Selected composers of the ISCM sections)

* 'Introducción, Cadenza y Aria'. Trio Kandinsky, Harry Mäki
(El Vendrell, Auditorio Pau Casals, 8-XII).

* 'Jo tem la nit' para coro mixto y piano (WORLD PREMIERE)
Commissioned by Cor de Cambra del Palau (Barcelona, XII-2008)

* CD 'Cinc Cançons i Danses de Frederic Mompou'. Orquesta Filharmonia de Galicia, dir: A.
Ros-Marbá ('Mompou Orchestral Music', WARNER CLASSICS, to be released autumn 2008)


2009

* 'Alter Klang. Impromptu para gran orquesta', National Youth Orchestra of the Netherlands (Holanda y Bélgica: Rotterdam, Utrecht, Apeldoorn, Antwerpen, Nijmegen, Enschede).

* 'Alter Klang. Impromptu para gran orquesta', Malmö Symfoni Orkester (Suecia, 2 de abril 2009)

* Composer in residence. Festival 'A Tempo' de Caracas (Venezuela).
Concerts and masters classes (july 2009)

* 'Epigramas' para seis instrumentistas. Plural Ensemble, dir. Fabián Panisello (Madrid)

* 'Cuarteto de cuerda núm. 3' (commisioned by Arditti Quartet)

* New Chamber Piece, commissioned by 'Ensemble 88' (Holland and Spain).

* 'Tres Miniaturas' para ensemble instrumental (WORLD PREMIERE).
Obra-encargo del CDMC. Modus Novus, dir. Santiago Serrate, Madrid.

* MONOGRÁFICO 'Portrait Benet Casablancas' (Music for violin, cello and piano)
Concerts and master classes (november 2009). Trio Kandinsky (Nagoya and Tokio).

* 'Tres Estampas para Trio' (Trio núm. 3), commissioned by Trio Kandinsky
(Tokio, Nagoya, Barcelona, Mallorca, 2009/2010)
Contact
The composer can be contacted by:
CONSERVATORI SUPERIOR DE MÚSICA DEL LICEU : bcasablancas@conservatori-liceu.es

Tf: 93 327 1200 / Ext. 231

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