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“WHAT A BLAST!” Frankenpost, 09.01.2012, Kerstin Starke >>The orchestra "Hofer Symphoniker" began the year with an impetuous new program. The public witnessed an amazing world premiere "El Gran Pario" for percussion, piano and orchestra, composed by the internationally prestigious young composer Oriol Cruixent, who was the interpreter of the piano solo and percussion soloist and the renowned percussionist Claudio Estay. This joyous piece is electrifying and rhythmically intense; it kept the audience and performers in constant motion. Claudio Estay, just as required by the virtuous Cruixent’s piece, was able to play up to eight instruments practically simultaneously. Both composer and percussionist became part of a beautiful musical dialog, just musical greatness in their hands. "El Gran Pario" was celebrated by the audience with great excitement, it was more than justified: it was great and stunning!<< “CAPTIVATING COMPOSITION”, 08.01.2012, Reiner Unger >>The World Premiere of Oriol Cruixent "El Gran Pario", was received with "Standing Ovations" (...) the premiere of "El Gran Pario" was the highlight of the entire concert. The percussionist Claudio Estay was brilliant and powerful with an exceptional performance. Oriol Cruixent, at the piano, played a remarkably beautiful solo. The audience celebrated passionately to both musicians; but most of all, they were delighted by the intense and electric composition.<< “A MASTERPIECE”, 05.01.2012, A.B. >>The young pianist and composer Oriol Cruixent composed “El Gran Pario", a masterpiece, where the renowned Percussionist Claudio Estay did shine with an amazing performance. The audience enjoyed a wonderful interaction between orchestra, piano and modern percussion.<< “MASTERFUL” Leipzig Almanach, 01.11.2011, Steffen Kühn >>Oriol Cruixents "Pregàries" falls out From the tonal harmony programmatic. In a very expressive beginning, a low rumble builds an ambient, followed by a polyphonic structure. Here is where some idea shimmers which transports the audience instantly into a visible tension. A tension which Cruixent knows to model in a masterfully way, ending it all in a magnificent distant pizzicato.<< “FASCINATING WORLD PREMIERE” “In Zig-Zag from Bulgaria to Spain to China. 1st chamber concert of the season - Fascinating world premiere.” Nordwest Zeitung, 24.10.2011, Horst Hollmann >>Oriol Cruixent composed a sextet especially for Oldenburg that charmed the audience and left them breathless: "Subaquàtica" with Gabriel Voicu (Violin), Petia Rousseva (Viola), Gerke Jürgens (Cello), Wei Wei (Bass), Joaquim Palet (Horn) and Jason Weaver (Piano). Cruixent self conducted his piece with enourmous success. His music, full of light refractions and water movements may well be a modern equivalent of Charles Ives’s "Unanswered question". But Cruixent did find an answer: in his own fantasy. The horn throws powerful questions, the other instruments first keep by themselves, and find slowly all together in harmony. It is here where the horn "speaks" his final “words”, this time in the form of a sea shell ("Syrinx"), gorgeously played by Joaquim Palet. The last notes are then exquisitely lost in the resonance of the piano strings. It is definitely the highlight of the concert<< “GROOVE AT KONZERTHAUS” “The “Detmolder Kammerorchester” cautivates the audience” Lippische Landeszeitung, 27.01.2011, Andreas Schwabe Detmold. >>The excited screams from the “Olympus” - where the students sat – couldn't be overheard over the frenetic applause. At the end nothing could stop the audience that rose from their seats to unleash the accumulated joy: they had just witnessed an event full of highlights. Those responsible for such an event were the composer Oriol Cruixent, the percussionist Andrey Doynikkov and the "Detmolder Kammerorchester" conducted by Alfredo Perl. A frenetic consent to contemporary music, a composition with "glissandos" and "staccato" effects à la Witold Lutoslawski... all this in a concert hall? Yes! And a work for string orchestra and percussion, which at times sounds like the crash of Chinese cymbals... Is this really music?! Yes it is! The piece was composed by Oriol Cruixent, one of the young composers who break the taboo of the serial music of the late l960s to become absolutely liberal - either tonal or atonal - now everything is legal, as long as it sounds. Cruixent brought with his "Trinoctium" for percussion and string orchestra the "groove" to the concert hall, and the "Dedmolder Kammerorchester" under the outstanding Alfredo Perl sipped it, like a thirsty in the middle of the desert would sip the water of the fountain of salvation. In his composition Cruixent mixed rhythmic elements of the "mainstream jazz", tonal and atonal textures, seemingly improvised sections and brilliant instrumentation in such a symbiosis that the audience were completely over the moon.<< "REVOLUTIONARY" Crescendo Magazin, maig 2010, Martin Morgenstern >>Cruixents archaic "Abismes", i.e. “abysses” are truly revolutionary. Here it seems we can hear the pulsating universe. Such as under the influence of drugs, the focus of the listener constantly jumps back and forth between the micro and macro cosmos.<< “PICTORICAL SOUNDSCAPES CATCH THE AUDIENCE”, 06.02.2008, K.S. >>The young catalan composer Oriol Cruixent that presented his work "Abismes" for orchestra, made the start. The piece begins with sounds that remind of fight, maybe a battle, maybe the ascent from the abyss. Pictorical sound-layers catch the listener completely. Then a change, relaxation, almost peace. And after that the redemption, yes glorification. Cruixents music- language is clear, he masters the musical technique, knows how to express himself with authenticity.<< “FRESH, FULL COLORED TOTALNESS” TZ München, 05.02.2008, Th.W. >>"I want to reach the people, make them feel. Otherwise, one can stay at home." Oriol Cruixent belongs to that composers-generation, for which it is no more award, not to be understood. What he announced beforehand, confirmed his music: "Abismes" is not only pleasing, but reach your senses. (...) Cruixent gives to all a fresh, full-colored tonalness, a sound of the conviction.<< “A FULMINANTE PREMIERE” “The concert series “Paradisi Gloria” with a fulminante premiere at the “Herz-Jesu- Kirche”” Süddeutsche Zeitung, 05.02.2008, Klaus Kalchschmid >>The 31-year old catalan Oriol Cruixent decided in favor of the emphasis of "Et exultavit spirits meus", but his wonderful contrapunctistically composed and facet-richly orchestrated work “Abismes” describes a wide bow: from the tension-loaded, rhythmical, brutal development of the chaos over a softly blooming moment of peace, where the orchestra-musicians quietly literally beginn to sing from the need to the reconciliation, then a unisono melody which opens more and more, until all instrumental voices slowly drive into a lively joy. Ulf Schirmer and the Rundfunkorchester succeeded with a fulminante premiere in the church “Herz-Jesu-Kirche”.<< “ENTHUSIASTIC REACTION OF THE AUDIENCE” Eleutherotopia, 06.11.2007, Gianni Ebolou >>(...) from all six finalists, “Zeichen im Sand” was the most succinct and most interesting piece without any doubts. With a very good balance and a clear melodramatic goal, this work served Trakl's verses with big seductive-theatrical language and very transparent means excellently. The public's enthusiastic reaction already announced the later unanimous decision of the jury (Chairman Rodion Shchedrin).<< “LONG PROLONGUED APPLAUS” Berline Morgenpost, 11.05.2007, Felix Stephan >>How exciting contemporary music can be, Markus Poschner proved in the first concert-half with the premiere of the work "Trinoctium." The catalan Oriol Cruixent i Gallart had composed a high-masterly, effective three-part period over different nightly impressions. A sumptuously equipped percussion section was added to the stringorchestra. Driving rhythms, iridescent sound-layers and folkloristic melody- phrases culminated within a stirring in the end. Long prolonged applause and Bravos for the percussionist and the present composer.<< “WHAT A PITTY, ALREADY FINISHED”, desembre 2004, Elisabeth Daiker >>Oriol Cruixent took the responsability of the musical direction. The young composer handled the orchestra and the singers in complete control. With the thought: "What a pitty, already finished", ended this night of opera.<<