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The main objective of the OSSXXI is to achieve a realization of the works as close as possible to what the composer created. This may seem at first glance an obvious and obvious purpose, but it is not.


The crucial point is that what we call personal interpretation is now given too much importance, where the most important thing, as they say, is what the performer does with the play, and the more personal and original the better.


This may sound very good and interesting, but there is an obvious danger behind it: have we come to know the work in all its different essential aspects that make it up? Or at least as many as possible? We refer to the number of existing structures in the various forms that make it up, such as rhythmic, melodic, harmonic and metrical structure, on the one hand. On the other hand, also becoming aware at every moment of the proper tuning and balance, that is, the order of priority of the different voices, to finally reach the greatest, subtle and essential. that must be discovered in any musical work: phrasing, understanding the relationship of tension and distension that is created when the consciousness itself relates the sounds to each other.

To get as far as possible we use the ear and the structuring of the affective world through sounds, called musical phenomenology.


Musical phenomenology was developed and studied mainly by Sergiu Celibidache, a Romanian director and pedagogue from the second half of the last century and with whom our director, Jordi Mora, studied for many years.


This leads us to ask essential questions about music and the way to reach it in a deep and consistent way, always without any sign of theoretical speculation and putting in every moment the practice, the real realization, as a goal.


Phenomenology teaches us that in every musical work everything is related to everything, the smallest individual parts with the largest arches, and by progressively listening to all of them, we go deeper and deeper into the experience. We must try to keep nothing to chance and thus discover that works are masters when their composers make a creation that is essentially related to who we are: unity.


The enormous multiplicity of aspects that a work can have are all the more fascinating as these parts are part of this great unity conceived by the composer, each with his own personal and unique language.


This is the line of work that the Orquestra Simfònica Segle XXI seeks to follow in every rehearsal and concert.


Experience shows that the more the mind focuses on discovering this fascinating cosmos that is each musical work, the less time is left to speculate with so-called "personal" creations, but which often do nothing but disguise what we do not know.


Instead, putting our person at the service of a serious listening, where we all find ourselves as an orchestral group thanks to this attitude, is what really gives meaning to the personal in all its grandeur.



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