Mosaicos: Trio Musicalis Eduardo Raimundo, Mario Pérez & Francisco Escoda

• Hèctor Parra (b. 1976): Chiffres et Constellations Amoureux D'une Femme (d’après la XXe constellation de Joan Miró):
• 1Parra: Chiffres et Constellations Amoureux D'une Femme (d’après la XXe constellation de Joan Miró)17:29
• Jesús Torres (b. 1965): Fulgor:
• 2Torres: Fulgor11:01
• José Luis Greco (b. 1953): Big Fun:
• 3Greco: Big Fun16:40
• Ramón Paús (b. 1959): El Huésped Cuántico:
• 4Paús: El Huésped Cuántico10:27
• José María Sánchez-Verdú (b. 1968): Luz negra II (De máquina oscura):
• 5Sánchez-Verdú: Luz negra II (De máquina oscura)07:26
• Total Runtime01:03:03

Info for Mosaicos: Trio Musicalis

Mosaicos is a cross-section of today’s musical creation in our country. The Musicalis Trio is contributing to the ongoing configuration of our artistic history, helping generate a new and valuable repertoire for the instrumental combination of clarinet (especially the bass clarinet), violin and piano. On this map of Spanish stylistic diversity at the commencement of the 21st century we travel from the sonic exaltation of Parra to the timbral speculation of Sánchez-Verdú, passing on the way the luminosity of Torres, the eclecticism of Greco and the lyricism of Paús. The added value of the members of the Musicalis Trio starts with their rigorous and enthusiastic interpretation of this music, demonstrating their exceptional capacity of adaptation to each language.

Eduardo Raimundo, bass clarinet
Mario Pérez, viola
Francisco Escoda, piano

The Musicalis Trio
was formed in 2008 within the ambit of the Spanish National Orchestra. During the past 15 years of shared work and intensive concert activity, its three members (Eduardo Raimundo, clarinet and bass clarinet; Mario Pérez, violin; Francisco Escoda, piano) have forged the group’s identity, whose fundamental purpose is “to re-create the chamber music of history’s great composers.” In fact, on their first CD, Contrasts, they imparted their personal vision of five key works for the atypical combination of clarinet, violin and piano, all of them written in the first decades of the 20th century: the suite from Stravinsky’s L’Histoire du soldat (1919), the “Adagio” from Alban Berg’s Chamber Concerto (1925), Khachaturian’s Trio for Clarinet, Violin and Piano (1932), Milhaud’s Suite for Clarinet, Violin and Piano (1936) and Bartok’s Contrasts (1938).

Booklet for Mosaicos: Trio Musicalis