(Badalona 1964)

Tres amores oscuros

Commissioned work - (2021) - 47 '
Lyrics by Federico Garc铆a Lorca (1898-1936)

I. Canto primo. Bodas de Sangre. Escena Final
II. Canto secondo. Yerma. Nocturno
III. Canto terzo. Thamar y Amn贸n

Marco Mezquida, piano
Carles Marig贸, piano
Lidia Vinyes-Curtis, mezzo-soprano
Pere Mart铆nez, cante


(Sontzovka, now Ukraine 1891 - Moscow 1953)


Ballet Selection - (1946) - 43 '

Introduction 路 Shawl Dance 路 Cinderella 路 The Sister's New Clothes 路 Spring Fairy 路 Autumn Fairy 路 The Interrupted Departure 路
The Clock 路 Cinderella's Departure for the Ball 路 Cinderella's Arrival at the Ball 路 Grand Waltz 路 Dance of the Prince 路 Duet of the Sisters with the Oranges 路
Waltz Coda 路 Midnight 路 First Galop of the Prince 路 Temptation 路 The Prince Recognizes Cinderella 路 Amoroso


FIRST VIOLINS 聽Giulia Brinckmeier *, concertino guest / Jaha Lee, associated concertino / Ra煤l Garc铆a, concertino assistant / Sarah Bels / Walter Ebenberger / Ana Gal谩n / Katia Novell / Pilar P茅rez / Anca Ratiu / Andrea Duca * / Edward McCullagh * / Ariana Oro帽o * / Yulia Tsuranova *聽 SECOND VIOLINS Alexandra Presaizen, soloist / Nina Heidenreich *, guest assistant / Jana Brauninger / Cl脿udia Farr茅s / Mireia Llorens / Melita Murgea / Josep Maria Plana / Robert Tom脿s / Paula Banciu * / Cristian Benito * / Jos茅 Eduardo Canto * / Elitsa Yancheva *聽 VIOLAS Aine Suzuki, soloist / Benjamin Beck *, guest soloist / David Derrico / Christine de Lacoste / Sophie Lasnet / Michel Millet / Jennifer Stahl / Irene Arg眉ello * / Javier L贸pez * / Johan Rond贸n *聽 CELLOS聽Jos茅 Mor, soloist / Lourdes Du帽贸 / Vincent Ellegiers / Marc Galobardes / Jean Baptiste Texier / Carolina Bartumeu * / Jordi Claret * / Jonathan Cottle * DOUBLE BASSES Christoph Rahn, soloist / Dmitri Symshlyaev, assistant / Jonathan Camps / Apostle Kosev / Matthew Nelson / Albert Prat聽 FLUTES聽Christian Farroni, assistant / Beatriz Cambrils / Ricardo Borrull, flaut铆 聽OBOES聽Disa English, soloist / Jos茅 Juan Pardo / Molly Judson, English horn 聽CLARINETS Josep Fuster, assistant / Francesc Navarro / Alfons Revert茅, bass clarinet 聽BASSOONS Thomas Greaves, assistant / Noah Cant煤 / Slawomir Krysmalski, contrabassoon 聽HORNS Juan Manuel G贸mez, soloist / Joan Arag贸 / Juan Conrado Garc铆a / David Bonet / Alma Mar铆a Garc铆a *聽 TRUMPETS Angel Serrano, assistant / Adri谩n Moscard贸 / Andreu Moros *聽 TROMBONES Eusebio S谩ez, soloist / Antoni Duran * / Gaspar Montesinos, assistant / Miquel S脿ez *, bass trombone TUBA Daniel Mart铆nez*聽 TIMPANI Gratiniano Murcia *, guest soloist聽 PERCUSSION Ignasi Vila / Jordi Cid * / Miquel Angel Forner * / Miquel Angel Mart铆nez * / Roberto Oliveira * / Diego S谩enz *聽 HARP Magdalena Barrera, soloist PIANO Jordi Torrent *

ORCHESTRA MANAGER Walter Ebenberger聽聽
STAGE CREW Luis Hern谩ndez *

* Collaborator


by Josep Barcons

Loves without a fairy tale

Enric Palomar has spent one and a half years writing this great symphonic triptych based on three poems by Federico Garc铆a Lorca that sing of the irresistible strength of a love that overcomes conventionalism, social order and even life itself. Palomar confesses that it was difficult for him to enter into the work as he had two solo pianos, but he did not want them to have a concertante dimension. However, he explains that he got out of the impasse by assigning them 鈥榓 role closely linked to the cantaor and cantaora's voices without relegating them to a liederistic accompaniment or abandoning them to virtuosic brilliance鈥. Such luminosity would have been detrimental to the work鈥檚 dramatic and fatalistic (though not pessimistic) character.

As usual in this composer from Badalona, who has been living in Berlin for eight years, his music exudes Hispanic twists and is based on Lorca's imaginary. However, Central European influence is increasingly present in the wrapping of his discourse, in such a way that the impressionist perfume of his first works has become more and more essential, and the Iberian lineage has remained practically anchored in the rhythmic conception and in certain melodic idioms.

In this regard, the score begins precisely with a buler铆a (a fast flamenco rhythm) from which we leave with a theatrical gesture of castanets (inherited from Manuel de Falla), in a pattern that is reproduced later in the two remaining movements. A change of character takes us to the setting of Blood Wedding, from which the dialogue emerges between The Bride and Leonardo, lying in wait before The Groom and Leonardo both end up losing their lives for her. The strength of the passion that the two lovers cannot resist is expressed in diverse mirroring procedures that reach the climax when the two voices, full of lyricism, interweave just before the tambourine announces the fatal outcome.

The introduction of the second movement is of a fierce violence that permeates the first bars of this - according to Palomar - 鈥榥octurnal orgy with a hallucinogenic air鈥. In fact, in this fragment of Yerma we find the forces of the Male and Female in a scene with a witches' coven-like atmosphere that Palomar links to the black paintings of Francisco de Goya. Despite the omnipresence of the staccato, the devilishly difficult role of the pianos and the frenetic rhythms, this second poem is full of calm and turns into an impasse that would play the role of a classical adagio.

The third movement brings us to an incestuous rape of biblical origin, which Lorca reformulates with some of the most sensual and erotic images of his poetry. After 10 minutes with increasingly disjointed strings, at the very peak of the narrative, the voices of Amnon and his sister Tamar (sometimes reversed) interweave in slow motion, tussling on an aleatory bed entrusted to the bass clarinet, the bass flute, the harp and the pianos. The orchestra in fortissimo bursts in several times on stage with penetrating and harsh sounds, from which it emerges with a beautiful intervention of the English horn on a clarification of the harmony. From this moment on, we witness a great coda not only of the movement, but of the whole work, in which Palomar seems to 鈥榮urrender to the fatalism of telluric forces鈥 that, like in classical tragedy (which Lorca knew very well), neglect the will of those who live to face them.

If Palomar's work is based on three intense and dark love poems, the love of Sergei Prokofiev and Carolina Codina is not far behind. Contrary to what happens to Cinderella in the suite we will listen to today, whose narrative we know so well it is not worth explaining again, the story of Lina and Sergei follows a path that is diametrically opposed to that of the fairy tale. Indeed, the Realpolitik of the Russian communist regime was of a (Soviet) realism much cruder than the one of stepmothers and stepsisters who perform wicked acts to prevent happy endings.

But, as with stories, let's start at the beginning. The charming Lina, born accidentally in Madrid and raised in New York, was the daughter of the tenor from Barcelona, Joan Codina, and the Russian aristocrat and soprano, Olga Nemiskaia, with whom she travelled the world in the wake of their artistic commitments, which provided her with a first-class cultural education. On 10 December 1918, at the age of 21, she went to the Carnegie Hall in New York to listen to a 27-year-old Prokofiev, who had just left Russia and was astounding the world with his talent. The relationship did not take long to get underway, and Lina became Sergei's creative engine while his talent was shining in the cultural avant-garde of Paris in the 1920s.

In 1936, despite the couple's comfortable life, already with two children, and despite the warnings of friends and acquaintances, Prokofiev's love for his homeland and Stalin's siren songs made the family move to the USSR. Their living conditions changed radically in a short time, and became worse when the regime began to label Prokofiev's music as formalist and counter-revolutionary, which was partly attributed to the influence of his western wife.

The ballet Cinderella, which was started in 1940 and premiered in 1945, was one of the last works Prokofiev began alongside Lina, as in 1941 he went to live with Mira Mendelssohn. She was a young writer affiliated to the Communist Party and, according to rumour, someone brought her on the scene to eventually break up the couple. Prokofiev's second marriage facilitated Lina's torture and imprisonment, which lasted from 1948 to 1956. In the harshness of the gulag (a Soviet labour camp system), Lina did not hear of Prokofiev's death for some time, which occurred on 5 March 1953 and which went unnoticed as it coincided with Stalin's death. But the ice of the North Pole did not freeze her heart. And, after she had managed to escape from Russia in 1974 and until her death in 1989, at the age of 91, Lina launched a foundation to promote her husband's music. Bitter-sweet music with incredible melodies that are heard in disturbing harmonies, but in which - as in the end of today's suite and as in Lina's life - love triumphs in the end.


Tres amores oscuros (2021, Commissioned work)
Lyrics by Federico Garc铆a Lorca

Bodas de sangre. Escena final (LEONARDO-NOVIA)

Ay, qu茅 lamento, qu茅 fuego
me sube por la cabeza!
Que, si matarte pudiera,
te pondr铆a una mortaja
con los filos de violetas.

隆Qu茅 vidrios se me clavan en la lengua!
Porque yo quise olvidar
y puse un muro de piedra
entre tu casa y la m铆a.
Y cuando te vi de lejos
me ech茅 en los ojos arena.

Pero montaba a caballo
y el caballo iba a tu puerta.
Con alfileres de plata
mi sangre se puso negra,
y el sue帽o me fue llenando
las carnes de mala hierba.

Que yo no tengo la culpa,
que la culpa es de la tierra
y de ese olor que te sale
de los pechos y las trenzas.

(隆Ay, 隆qu茅 sin raz贸n!) No
quiero contigo cama ni cena,
y no hay minuto del d铆a
que estar contigo no quiera,
porque me arrastras y voy,
y me dices que me vuelva
y te sigo por el aire
como una brizna de hierba.

P谩jaros de la ma帽ana
por los 谩rboles se quiebran.
La noche se est谩 muriendo
en el filo de la piedra.
Vamos al rinc贸n oscuro
donde yo siempre te quiera,
que no me importa la gente
ni el veneno que nos echa.

Y yo dormir茅 a tus pies
para guardar lo que sue帽as).

Se abrasa lumbre con lumbre.
La misma llama peque帽a
mata dos espigas juntas.

Es justo que yo aqu铆 muera,
con los pies dentro del agua
y espinas en la cabeza.
Y que me lloren las hojas
mujer perdida y doncella.

Yerma Nocturno (HEMBRA 鈥 MACHO)

En el r铆o de la sierra
la esposa triste se ba帽aba.
Por el cuerpo le sub铆an
los caracoles del agua.

La arena de las orillas
y el aire de la ma帽ana
le daban fuego a su risa
y temblor a sus espaldas.

隆Ay qu茅 desnuda estaba
la doncella en el agua!

When night comes I'll tell you,
when the clear night comes.
When the night of the pilgrimage arrives
I will tear the ruffles of my petticoat.

隆Ay, qu茅 blanca
la triste casada!
隆Ay, c贸mo se queja entre las ramas!
Amapola y clavel ser谩s luego,
cuando el macho despliegue su capa.

If you come to the pilgrimage
to ask for your belly to open,
don't put on a veil of mourning,
but sweet shirt of

Vete sola detr谩s de los muros,
donde est谩n las higueras cerradas,
y soporta mi cuerpo de tierra
hasta el blanco gemido del alba.

隆Ay, c贸mo relumbra!
隆Ay, c贸mo relumbra,
隆Ay, c贸mo se cimbrea la casada!

隆Ay que el amor le pone
coronas y guirnaldas,
y dardos de oro vivo
en sus pechos se clava!

Siete veces gem铆a,
nueve se levantaba.
Quince veces juntaron
jazmines con naranjas.

Que se queme la danza
y el cuerpo reluciente
de la limpia (linda) casada.

Los dos:
El cielo tiene jardines
con rosales de alegr铆a:
entre rosal y rosal,
la rosa de maravilla.

Thamar y Amn贸n

La luna gira en el cielo
sobre las tierras sin agua
mientras el verano siembra
rumores de tigre y llama.
Por encima de los techos
nervios de metal sonaban.
Aire rizado ven铆a
con los balidos de lana.
La sierra se ofrece llena
de heridas cicatrizadas,
o estremecida de agudos
cauterios de luces blancas.

Thamar estaba so帽ando
p谩jaros en su garganta
al son de panderos fr铆os
y c铆taras enlunadas.
Su desnudo en el alero,
agudo norte de palma,
pide copos a su vientre
y granizo a sus espaldas.
Thamar estaba cantando
desnuda por la terraza.
Alrededor de sus pies,
cinco palomas heladas.

Amn贸n, delgado y concreto,
en la torre la miraba,
llenas las ingles de espuma
y oscilaciones la barba.
Su desnudo iluminado
se tend铆a en la terraza,
con un rumor entre dientes
de flecha reci茅n clavada.

Amn贸n estaba mirando
la luna redonda y baja,
y vio en la luna los pechos
dur铆simos de su hermana.
Amn贸n a las tres y media
se tendi贸 sobre la cama.

Toda la alcoba sufr铆a
con sus ojos llenos de alas.
La luz, maciza, sepulta
pueblos en la arena parda,
o descubre transitorio
coral de rosas y dalias.

Linfa de pozo oprimida
brota silencio en las jarras.
En el musgo de los troncos
la cobra tendida canta.

Amn贸n gime por la tela
fresqu铆sima de la cama.
Yedra del escalofr铆o
cubre su carne quemada.

Thamar entr贸 silenciosa
en la alcoba silenciada,
color de vena y Danubio,
turbia de huellas lejanas.

Thamar, b贸rrame los ojos
con tu fija madrugada.
Mis hilos de sangre tejen
volantes sobre tu falda.

Leave me alone, brother.
It's your kisses on my back
wasps and windmills
in double swarm of flutes.

Thamar, en tus pechos altos
hay dos peces que me llaman,
y en las yemas de tus dedos
rumor de rosa encerrada.

The king's hundred horses
in the courtyard they whimpered.
Sun in cubes resisted
the thinness of the vine.

Ya la coge del cabello,
ya la camisa le rasga.
Corales tibios dibujan
arroyos en rubio mapa.

隆Oh, qu茅 gritos se sent铆an
por encima de las casas!
Qu茅 espesura de pu帽ales
y t煤nicas desgarradas.
Por las escaleras tristes
esclavos suben y bajan.
脡mbolos y muslos juegan
bajo las nubes paradas.

Alrededor de Thamar
gritan v铆rgenes gitanas
y otras recogen las gotas
de su flor martirizada.
Pa帽os blancos enrojecen
en las alcobas cerradas.
Rumores de tibia aurora
p谩mpanos y peces cambian.

Violador enfurecido,
Amn贸n huye con su jaca.
Negros le dirigen flechas
en los muros y atalayas.
Y cuando los cuatro cascos
eran cuatro resonancias,
David con unas tijeras cort贸
las cuerdas del arpa.


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