The mass, as a musical work, is a genre shared by most Western composers since the 15th century. When a young contemporary creator is faced with this type of work, they can look back and see (and drink!) a whole historical draft that encompasses a tradition of more than five hundred years. Similar to the string quartet, the mass is a space for pure music, where the composer can, if he wants, avoid the direct relationship of the music with the text, because this has already become something abstract in many of the masses of the past This is what many polyphonists of the 16th and 17th centuries did, who, maintaining the small precepts about the character that each part of the mass should have, developed a very varied corpus of resources and styles that would serve to forge future music. And it is at this time, where Joan Magrané directs his gaze to build his Mass at 6. From small cells, like fibers of a fabric, Magrané builds soundscapes that change in a fluid way, almost without defined limits.

On the other hand, the Tres responsoris by Ramon Humet live from the harmonic color, from the vertical energy of music. From the simple power of the unison or the fifth justa to the chords of eight notes, Humet presents us with a palette of resources that perhaps relates him to romantic aesthetics.

The program is completed with two miniatures created for the occasion by young composers participating in this edition of the Mixtur Sound Composition and Experimentation Workshop.

Xavier Pastrana

Biography

https://www.ensembleovosomnes.cat/qui-som