Les toits de Barcelone dans la clair de lune

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Clar de Llunes

Música de l'espectacle de Pep Bou i Jordi Masó 

2007

Tracks:
  
01. Mompou: "Angelico" (de Música Callada)
02. Debussy: Clair de lune (de Suite Bergamasque)
03. Mompou: Escenes d'infants: Crits al carrer: Crits al carrer
04. Mompou: Escenes d'infants: Jocs a la platja: Jocs a la platja
05. Mompou: Escenes d'infants: Joc 2: Joc 2
06. Mompou: Escenes d'infants: Joc 3: Joc 3
07. Mompou: Escenes d'infants: Noies al jardí: Noies al jardí
08. Blancafort: La lluna brilla (de Notes d'antany)
09. Séverac: Vals romàntic (de En vacances)
10. Mompou: Cançó i dansa No. 6
11. Donostia: Cantant a la llum de la lluna (Preludi base No. 12)
12. Mompou: Suburbis: El carrer, el guitarrista i el vell cavall: El carrer, el guitarrista i el vell cavall
13. Mompou: Suburbis: Gitanes I: Gitanes I
14. Mompou: Suburbis: Gitanes II: Gitanes II
15. Mompou: Suburbis: La cegueta: La cegueta
16. Mompou: Suburbis: L'home de l'aristó: L'home de l'aristó
17. Fauré: Nocturne Op. 33, No. 3
18. Mompou: Preludi No. 7 "Palmera d'estrelles"
19. Turina: Sota els tarongers (de Sevilla) 
  

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  

 ...Pianist Maso skilfully accompanies Bou’s meditative actions, enhancing their dream-like qualities with wonderfully emotive interpretations of pieces by French and Catalan composers, perfect for letting one’s mind drift along with the bubbles...

 ..the reason for the cd & this post ; )

 
Jordi Masó was born in Barcelona, Spain, and studied at the Barcelona Conservatory with Josep M. Roger, at the Barcelona School of Music, with Albert Attenelle, and at the Royal Academy of Music of London with Christopher Elton and Nelly Akopian. He graduated from the Royal Academy of Music in 1992 with a DipRAM, the institution's highest distinction.

Masó specializes in the music of Spanish composers, notably those of the 20th and 21st centuries. He has won first prizes in a number of national and international competitions, and has performed in most European countries, in South America and in Asia. He regularly performs as a soloist with major Spanish orchestras. Since 1996, he has been a member of the contemporary music group Barcelona 216, which won the Barcelona City Prize for music in 2000. In 2008 he was awarded the Associated Royal Academy of Music (ARAM), given to the Academy most distinguished students.

Masó has recorded several dozen CDs for labels such as Anacrusi, Marco Polo, and Naxos. He specializes in Spanish music, and has notably recorded the complete piano music of Frederic Mompou on six discs, and the complete piano music of Padre Donostia. He also recorded the complete piano music of Joaquín Turina and Déodat de Séverac for Naxos.

Masó teaches piano at the Granollers Conservatory and at the ESMUC (Escola Superior de Música de Catalunya).

Jordi

 ♥

PS: you don't need bubbles just ears... ; )

Welcome to Arsèguel ...

  

L'Acordió Un Món De Sons
2001

Tracks:

01. Carles Belda, Helena Casas, Josep Ma. Mayol, Josu Mayol - Bruno
02. Donal Regan, Daire O'Neil - O'Connell's Trip To Parliament
03. Enrique Telleria - La Cumparsita
04. Antonio Barros - Popular (Portugal)
05. Gwenael Kiviger, Axel Breitenreicher - Ar Plac'h Dimel Dimezet Gant
06. Cati Plana - Per Cortesia
07. Hans & Roland Pongratz, Sonja Petersamer - Popular (Bavaria)
08. Francesc Marimon - Acrobaleno
09. Guennady Kakmy Kov - Popular (Russia)
10. Daniel Violant - Sense
11. Schwytzerörgeli Trio Edelweiss - Popular (Swiss)
12. Matias Mazarico I Pere-Pau Jinménez - Un Puntet En El Mapa
13. Artur Blasco - Jota De La Placa D'Arsèguel
14. Ilio Amisano, Stefano Profeta - La Palude
15. Marc Del Pino - Vals Molt
16. Ned Kelly, Úrsula Byrni - Ryan's Polka
17. Laja, Iturbide - Trikirixa (Basque)
18. Alexandre Korotkov - Czardas
19. El Pont D'Acalís - Pasadoble De Muntanya

  

 recorded live in Arsèguel

  

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.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

  

Welcome to the accordion capital! 

Arsèguel is considered Catalonia’s accordion capital.
Every year, since 1976, it has hosted the Trobada amb els Acordionistes del Pirineu  (Gathering of the Accordion Players of the Pyrenees), the oldest folk music festival celebrated in the Catalan-speaking world. Arsèguel lies in the north-east of the comarca (local district) of L'Alt Urgell, in the very heart of the Pyrenees. It can be found on the lower spurs of the Serra del Cadí (Cadí Ridge), between the river Segre and the slopes of the Puig del Grau. Other points of interest to highlight are the Romanesque-style church of Santa Coloma and the Fàbrica de llanes (wool factory), and of course the marvellous views of the Pyrenees!

 

   

Want to visit:

Accordion Museum

      This museum explains the history of the accordion and its evolution around the world, but with particular reference to its links with the traditional folk culture of the Lleida Pyrenees. The instruments exhibited date from 1840 to the present day and include: melodeons, concertinas, bandoneons, and diatonic, semi-diatonic and chromatic accordions.

 

  

source

♥

Piano

au piano, Déodat de Séverac (partie "haute" du clavier) et Ricardo Viñes jouant une pièce à quatre mains

Jordi Maso, piano
Déodat de Séverac

Scenes of Southern France

Cerdaña - En Languedoc
2004

Tracks:

Cerdana (Cinq études pittoresques pour le piano) 1908-11

01. En Tartane (L'arrivée en Cerdagne) 7:23
02. Les fêtes (Souvenirs de Puigcerdà) 7:35
03. Ménétriers et glaneuses (Souvenir d'un pélérinage à Font-Romeu) 6:15
04. Les muletiers devant le Christ de Llivia (Complainte) 7:44
05. Le retour des muletiers 5:15

En Languedoc (1903-04)

06. Vers le mas en fête 8:12
07. Sur l'étang, le soir 7:39
08. A cheval, dans la prairie 3:48
09. Coin de cimetière, au printemps 8:02
10. Le jour de la foire, au mas 6:05
 

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.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫
  

  
from the booklet:

  

The French composer Déodat de Séverac belonged to a family of long distinction. He was born in 1872 at St Félix de Caraman en Lauragais, in the Haute-Garonne, the son of a distinguished Toulouse painter, Gilbert de Séverac, his first piano teacher. His mother was descended from the Aragon family of Spain, while his great-grandfather had served as naval minister to Louis XVI, the family boasting a descent that went back to the ninth century. The boy studied at the Dominican College of Sorèze, established in 1854 on the site of an ancient Benedictine foundation, before embarking on a degree in law at the university in Toulouse. Before long he was able to move to the Toulouse Conservatoire, where he was a student from 1893 to 1896. On the recommendation of Charles Bordes, a former pupil of César Franck, he was accepted by Franck’s leading disciple, Vincent d’Indy, as a pupil at the Schola Cantorum in Paris, a choice of institution that he soon found preferable to the more rigidly conservative academic discipline of the Paris Conservatoire.

...
  

De Severac wrote his suite Cerdana, described as Five Picturesque Studies for the Piano, between 1908 and 1911. The district known in French as the Cerdagne and in Spanish as Cerdana, straddling the French-Spanish border in the Pyrenees, was originally the home of the Ceretani, from which its name is derived. In later history it included three baronies, Ceret, St-Laurent-de-Cerdans and Puigcerdà. The villages of the upper Cerdagne were ceded to France, together with Roussillon, in 1659, while the ancient capital, Llivia, designated a town and therefore exempted, remained and remains a Spanish enclave, its name derived from the classical Julia Livia. The five pieces of de Severac's suite start with En Tartane, arrival in the Cerdagne in a two-wheel carriage. It begins in open admiration of the countryside, with melodic hints of what is to come, as the journey moves rapidly on. The second piece Les fêtes is described as a reminiscence of Puigcerdà, proclaimed the capital of the Cerdana by Alfonso II in 1177 and on the Spanish side of the frontier which passes through the region. The festival preparations start tentatively, soon leading to livelier music of clear local provenance, with pictorial allusions to the scene of celebration that passes, in a musical language that often suggests that of Debussy, not least in the echo of a distant evening fanfare, as the piece draws to a close. The third of the set, Les menetriers et glaneuses, musicians and gleaners, depicts a pilgrimage to Font-Romeu, now a popular sports and ski resort. The chapel there once held a twelfth-century statue of the Blessed Virgin, while the place itself takes its name from a spring. The musicians play their guitars and, as always, there is more than a trace of Albeniz in the piano writing. In Les muletiers devant le Christ de Llivia, the muleteers before the statue of Christ at Llivia, the bells of the ancient fortified church are heard tolling in a vivid depiction of the scene, as the worshippers offer their moving prayers and petitions. In Le retour des muletiers the muleteers are heard travelling back over the mountain roads, in music essentially of the region, Catalonia and the Spanish Pyrenees, reflected through the prism of Paris.

The five piano pieces that constitute En Languedoc were written in 1903 and 1904. These are less specific in their geographical references, offering more generalised musical illustrations of the region of France known as Languedoc. Vers le mas en fête leads to the farmstead where the festival of the title is to be held, in often serene pianistic textures that are very much an extension of the language of Debussy and, to a lesser extent, of Ravel. Sur l'etang, le soir, illustrates the calm scene on the pond in the evening in generally more transparent textures. This is followed by A cheval, dans la prairie, riding in the open country, graphically illustrated in the rhythm, suggesting the lively movement of the horse, with an occasional pause to survey the countryside, before cantering on. Coin de cimetière, au printemps, a corner of the cemetery in spring, opens meditatively, moving on from serene contemplation in a country churchyard to a climax of romantic feeling, before subsiding into its opening mood. The set ends with Le jour de la foire, au mas, fair-day at the farmstead. This offers a characteristic depiction of the country fair, in piano textures from the world of Debussy and Ravel, always with the suggestion of local colour drawn from de Severac's own part of France, the old province of Languedoc.

Keith Anderson
  

   
wiki

...This music twinkles in a glimmering summer twilight of time, suspended in tranquillity.

nice read

♥

Picasso

Pablo PICASSO, Nature morte au Piano, été 1911-printemps 1912, 50 X 130, Collection Heinz Bergruen, Geneva

   

Déodat de Séverac

       

A specific musical influence of Picasso’s decision to incorporate the Catalan music’s color and energy may have been from the Catalan composer Marie-Joseph-Alexandre Déodat de Séverac. This direction of progression in Picasso’s art becomes especially evident during his second summer in Céret, when De Séverac and Picassso lived together (Buettner 117). The relationship between the two is evident as Picasso sketched the composer in 1912 – Déodat de Séverac. Picasso’s attraction to De Séverac is explained through the composer’s maverick qualities. It is known that upon graduation from music school, De Séverac declared his independence and refused to associate himself with any other musical group (Landormy 209). He was a composer characterized by life and freedom, as Paul Landormy described in his article “Déodat de Séverac”: “This independent spirit, this heart so free and generous, found no room for an art arbitrarily bounded by latent hostilities” (Landormy 210). Refusing to confine himself with the limits of others, De Séverac created music that was unrestricted by pressures to conform to a certain style, resulting in refreshing and lively compositions. 

 

Déodat de Séverac au Piano - Musée Picasso Paris

    

De Séverac’s music, expressing his love for Catalonia, matched Picasso’s intrigue with the Catalan culture – a connection that would prove influential to Picasso’s Cubism. Catalonia was De Séverac’s passion, and his music reflected this love (Landormy 211). One of the composer’s most well known pieces, En Languedoc, captured the essence of the lively Catalonia. The composition is alive, and the musical instruments capture the energy of the Catalonian scene. Landormy praised the piece: “the ringing and tinkling of bells, the noisy fifes and tambourines, the cries of joy, the clapping of hands and the tapping of feet, mingle and alternate in a racy fantasia, in a scene inundated with dazzling brilliances” (Landormy 212). The various instruments collaborate to produce joyful and bustling music, celebrating the Catalan culture. De Séverac’s music must have stimulated Picasso, as his Cubist paintings begin to take on new elements. Though not a guitar painting, it is worthwhile to explore Picasso’s Still Life on a Piano (1912), as it is known that the piece alluded to De Séverac (Buettner 116). The mathematical elements of the painting are still present, but a sensation of increased motion is conveyed through the painting. Though titled as a still life, Picasso was attempting to show the life emerging from the piano’s music. Musical notes and symbols are scattered throughout the painting, illustrating the flowing quality of music. De Séverac’s energy is also conveyed through the increased color of the painting. Though still dominated by brown tones, as in the previously discussed guitar paintings, Picasso does add more color contrast, especially in the black and white of the piano keyboard.

A second influence of De Séverac may have been his separation of En Languedoc into movements. On these movements, Buetter wrote, “The individual movements [depict] the country, the seasons, the times of day, the people and their religious festivals” (Buettner 117). De Séverac used separate movements to represent certain aspects of Catalonia, and together, the movements mesh to form an ode to Catalonia. Correspondingly, while still unhampered by boundaries, Picasso’s piece does show increased distinction compared to the 1911 musical representations. The keys of the piano are clearly illustrated and the parts of other instruments, for example, the F-holes of a violin or cello, are delineated. This is perhaps Picasso’s initial following of De Séverac’s lead of creating a work using separate and distinct elements. 

   

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