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Banda Municipal de Castelló

Banda Municipal de Castelló

September 26, 2021

Marcel Ortega, director

Banda Municipal de Castelló


Banda Municipal de Castelló

Marcel Ortega, director

Ricardo Descalzo, piano

Allegro barbaro (1911) Béla Bartók (1881-1945) 3'

Tribal elements (2013) José Miguel Fayos Jordán (1980) 15'

Oiseaux exotiques (1955-1956) Olivier Messiaen (1908-1992) 15'

Dragon rhyme (2010) Chen Yi (1953) 15' 

After the ill-fated plans of last season, finally the Municipal Band of Castellón will be taking part for the first time in the famous, historical Ensems Festival. Cruïlles (Crossroads) is the title of the proposed programme, indicating that it acts as a meeting place of different paths, and especially as regards art; a place where differences and contrasts can only be a source of learning, of growth and of mutual enrichment. Creators of all times marvel at others in works that bring together different traditions and languages, with each one’s style developing and feeding on these new sources.

The concert will begin with Allegro Barbaro by Bartók. His crossroads is not the result of an encounter with foreignness, but of discovering one’s own roots. Throughout the 19thcentury, in Hungary it was believed that folk music was typical of gypsies, as reflected in the famous Hungarian Rhapsodiesby Liszt. Furthermore, that tradition was turned into classical language in a highly refined way according to the tastes of the time. But little by little, Bartók and Kodály undertook a veritable journey of research into the roots, the towns and the people of the country, equipped with a phonograph and lots of manuscript paper, and they discovered a unique musical language. The crossroads was thus discovered. Bartók’s Allegro Barbaro is the first work to involve that new (and at the same time old) language, transforming the piano into a percussion instrument and introducing all kinds of harmonies, accentuations and melodies discovered on his travels around the country. We are going to hear the version for bands by Tom Wallace.

 A most modern work will then follow: Tribal Elements by the composer from Xella, José Miguel Fayos Jordán. The crossroads links three paths, coming from western composers, the most ancestral traditions from different parts of the world, and the refined, curious filter of modern writing. The crossroads also implies contemporaneity, since only today’s modern techniques and freedom of tastes enable the true roots to be included so directly and authentically, often going beyond what we are accustomed to, including in norms of beauty. Fayos Jordán captures without a shadow of a doubt the tribal and ritual essence of the rhythms and traditions of South America, Africa and Asia in his work, which is naked, frank and sensually primal.

Olivier Messiaen was one of the first, like Bartók, to go in search of the sources directly where they come from, attempting to understand and translate them into the language he had learnt in the conservatory, instead of using them as a simple decorative feature or for hypocritical exoticism. A crossroads also implies authenticity: in the case of the French musician, his research takes him to two very interesting worlds: India and birds. Over years of research into ornithology, he has noted down and recorded birdsongs and included them in his creations. He has also done so with the extremely complicated system of Indian solfeggio, rhythm and scales.  Even so, he has translated it to the language of his time, using comprehensive serialism and the latest resources available for composing. With collaboration from the pianist Ricardo Descalzo, who specializes in contemporary music, the Municipal Band will bring to life the complex, ambitious and dense work of Oiseaux exotiques.

Born in 1953, the daughter of teachers, Chen Yi suffered internal deportation in the China of the more recent industrial revolution. Separated from her family, she was sent to deepest rural China and made to do forced labour while she studied her violin in hiding, along with the melodies and traditions of her country’s interior. In her novelesque biography, Chen managed to study at the Beijing Central Conservatory and the University of Columbia in the USA, where she became a Pulitzer Prize finalist for musical composition and is a university lecturer, in addition to being one of the most reputable composers today. Her own crossroads, with her own country, classical tradition and the living, inexhaustible world of composing in the USA, is one of constant exchange. Dragon Rhyme will bring the concert to a close with two very different movements: one based on the electroacoustic music of the 1960s and 70s, and another which is an energetic, delirious spiral of traditional Chinese music blended with the impetus and techniques of American band orchestration.


09/26/2021  11:30hAuditori and Palau de Congressos in CastellónConcerts '21

Precios: Free tickets

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