Sat. Oct 19th, 2019

Would the classic future be a soundtrack for football?

Dmitri Shostakovich was a soccer fan. He wanted to be a footballer, but he could not do without his glasses, and he served as official referee, though. He wanted to compose the anthem of the soccer federation of his country in the days of the USSR, but they were ahead of him. His is that phrase "football is the ballet of the masses".

its resistance to Stalinist barbarism and his tenacity in continuing composing avant-garde music despite suffering the censorship of the regime now serve as inspiration for a new creative pairing instigated by the Escenes de L'Auditori cycle that, in collaboration with the Grec Festival, has commissioned a piece to Quartet Brossa and the theater collective Atresbandes.

It is no secret that cultured music needs creative adventures for the creation of new audiences. The Quartet Brossa, which emerged in 2004, has always sought dialogue with other artistic disciplines and musical styles, passing the classical through a new look, always rescuing those reviled and banned music.

'Coda', which opens this weekend, is a reflection on censorship in music and art in general

And from his work with Atresbandes, a sort of homage to Shostakovich and a reflection on censorship entitled
Coda (day 13 at 8 pm and day 14 at 6 pm at the Auditori)
, multiple approaches are derived for the future of the classic. Among them, that possibility to serve as a soundtrack for the multitudinous football matches that mark the day to day of our times. And of the coming ones.

"De Shostakovich knew only the Waltz (from Suite No. 2) of the film Eyes Wide Shut, but reading The eternal noise, the best seller of Alex Ross that goes through history through music, we enter the chapter of the Stalin regime with Shostakovich as a star composer, "he explains. Albert Pérez Hidalgo, member of Atresbandes together with Mònica Almirall and Miquel Segovia. Shostakovich's relationship with the Soviet power – "and its endurance, because until the end let's say he never let the ball touch the ground," they add, emerges this new creation, which is based on the work of the Russian composer.

Atresbandes invents texts and visual poems that run parallel to the music of Shostakovich

Through music, word and movement, Coda wants to be a reflection on censorship current in the musical world and in art in general. The pianist has joined the very 'nostrada' adventure Gregori Ferrer, and J also collaboratesAlomar as a musical adviser. Thus, the selection includes both official and popular pieces by Shostakovich as well as avant-garde pieces that he was not allowed to compose. The Brossa interpret the first movement of Quartet no. 4; the first and third of Trio no. two; a folk adaptation of Quartet no. 8; the prelude and flight of Piano Quintet, wave Sonata for viola in single version.

On all those music, Atresbandes invents texts and visual poems, images that create a new discourse and an imaginary world to ask if a society could ever live without censorship. "They are texts that reflect on what happens on the scene, while on a screen two characters appear commenting on the concert, as in a concert in a concert," explain the creators.

For their part, the Brossa say that they always try to work with actors, dancers, lyrical singers … "The mix is ​​absolutely enriching. As more alive and dialogues is music, more fun for the public and for ourselves, "says the violist Imma Lluch Revert. The Catalan ensemble is completed by the violinists Aleix Puig and Pere Bartolomé, and the cellist Marçal Ayats.

"The mix with other disciplines is enriching, the more dialogue is the most fun music for the audience"

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