CD CONTENT
Pablo Ronsó i Font (1839-1899)
1. El pajarito de Cerdaña (Vals para piano) [2:26]
2. Recuerdo de Cerdaña “La Ceretana” (Polka) [1:54]
Las Cerdañas (Danzas para piano)
3. Cerdaña española [1:42]
4. Cerdaña francesa [1:43]
5. Lo pont de Sant Martí (Vals para piano) [5:04]
Antoni Monsó i Lledós (1897-1936)
Cerdanya (col·lecció de cinc sardanes per a piano)
6. Cerdanya [4:07]
7. L'estany de Puigcerdà [3:01]
8. Rigolisa [2:40]
9. Font-Romeu [2:27]
10. Plou i fa sol [2:50]
Josep Maria Ventura i Casas (1817-1875)
11. ¡A Font Romeu! (Sardana para piano) [3:30]
Antoni Juncà Soler (1875-1952)
12. Font-Romeu (Sardana) [5:04]
13. Puigcerdà (Sardana llarga op. 79) [4:42]
Ramón Serrat i Fajula (1881-1944)
14. Puigcerdà (Sardana) [3:31]
Joaquim Moner i Carbonell (1853-1930)
15. El Carril de Puigcerdà (Sardana llarga) [4:19]
Recull de ballets de la Cerdanya i del Rosselló. Harmonitzats per Joan Camps Arnau
16. Els aucellets de Cerdanya (Rossellonenca) [1:02]
17. Els aucellets de Cerdanya (Variant) [0:58]
18. Ball dels casats i pabordeses (Alp) [1:15]
19. La bolangera (Pirenaica) [1:23]
Déodat de Séverac (1872-1921)
Suite per a piano Cerdaña (Études pittoresques pour piano)
20. En tartane (L’arrivée en Cerdagne) [7:20]
21. Les Fêtes (Souvenir de Puigcerda) [8:50]
22. Ménétriers et glaneuses (Souvenir d’un pélerinage a Fontromeu) [6:56]
23. Les muletiers devant le Christ de Llivia (Complainte) [9:28]
24. Le retour des muletiers [5:55]
Everything we do, what we think and what we are is the result of any moment we share with others or that others share with us.
Albert Atenelle was my chamber music teacher during the years I studied at the Conservatori del Liceu in Barcelona. One day he asked me if I knew the Suite Cerdaña by Déodat de Séverac, a work that he had published with Columna Música. Around 2011 or 2012, my student and friend Pere Valls let me know that Enrique Granados spent time in Puigcerdà. So it was easy to decide the subject of the final project of the Master in Performance that I was studying at the Conservatorio de Musica “F. Venezze” in Rovigo, Italy, in 2013. Looking for the trace of Granados in Puigcerdà in the Regional Archive of La Cerdanya I found about fifty scores that were related to La Cerdanya. Therefore, in 2015 I resumed the subject for the final work of the Master in Musical Research, making an analytical approach in relation to the landscape in the works for piano related to Cerdanya and a catalog with all the works I had collected.
In the summer of 2022, after completing my PhD, studies that deeply shaken my professional career, I began to think about a possible artistic research for the Suite Cerdaña by Séverac. The call for a congress on Picasso and musical modernism in 2023 expanded the research into the relationship between the painter and Séverac with the cobla and the sardana (catalan ensemble and dance), the most extensive version of which will be published in English soon by FIMTE. Another part will also be published in Catalan in the Revista ERA. After participating in different national and international conferences talking about this work (International EPTA Conference, Lucerne, Switzerland; Open Forum Music Diaries International Worshop Festival, Thessaloniki, Greece; International Congress EPTA Espa'a, Madrid; Jornadas ab Sentits ESMUC, Barcelona; FIMTE Symposium, Moj'car; Jornades d'Estudis Comarcals de Cerdanya, Puigcerdà), has culminated with the recording of the album Cerdanya: works for piano and the publication on this website of the text that contextualizes and comments on these
works.
ACKNOWLEDGEMENTS
I would like to express my gratitude to all the people who have somehow made the publication of this project possible:
To Erola Simon Lleixà, director of the Arxiu Comarcal de La Cerdanya; to Marçal Ramon i Castellà, coordinator of the Arxiu Músics per la Cobla; to Oriol Lluis Gual, director of the Musée de la Musique de Céret; to the Santa Maria Choir from Puigcerdà, to Berta Olivas (photography), to Niko Paredes (stylist), to Luisa Morales, to Albert Atenelle, to Mari Carmen Fuentes Gimeno, to Josep Brunet Comas, to Joan Montiel, to Ronald Ayala (El Spot Studios) for his patience and expertise, to Luca Chiantore (for their invaluable help, advice, suggestions and company throughout the process), and to all those who force me to rethink how to make ours nowadays the soundscape that I love the most.