{"id":1288,"date":"2021-03-16T18:44:06","date_gmt":"2021-03-16T18:44:06","guid":{"rendered":"http:\/\/www.albertllanas.com.mialias.net\/?page_id=407"},"modified":"2021-09-27T16:06:37","modified_gmt":"2021-09-27T16:06:37","slug":"philosophy","status":"publish","type":"page","link":"https:\/\/www.albertllanas.cat\/?page_id=1288&lang=en","title":{"rendered":"filoson\u00eda"},"content":{"rendered":"\n

In the fall of 1991 a large celebration of Spanish art took place in several Italian cities: Rome, Milan, Napoli and others hosted a wide range of Spanish culture of all times, under the generic title SPAIN-ITALY. Filosonia<\/strong> was commissioned by the Spanish Ministry of Culture to be released in one of the most interesting musical showings: a concert by the orchestra of RAI Rome offered on October 12th at its headquarters at the Auditorium of the Foro Italico in that city under the direction of Jose Luis Temes, with works by Crist\u00f3bal Halffter, Jos\u00e9 Antonio Orts, Llanas and Falla. The event was a huge success.<\/p>\n\n\n\n

Filosonia\u00a0<\/strong>was written in the first months of 1991 to be a homage to the philosopher Juan David Garcia Bacca, one of the few contemporary thinkers who have devoted particular attention to music. The reflections of this philosopher had already been the subject of another of Llanas’ works, Necesidad y Azar<\/strong>, for chamber ensemble, which won the prestigious Alcoy’s Prize<\/strong> in its 1989 edition. The thoughts that Filosonia <\/strong>inspires are of an abstract nature, though, as is common in other Llanas’ works, there are some recognizable touches: the false allusion to Beethoven just at the beginning of the piece, the typically Spanish twist – or rather, Andalusian – in the role of the English horn at the end of the piece, and even a self-citation to the aforementioned Necesidad y Azar<\/strong> – an previous piece from Llanas – played by the bass clarinet just before the final chord.<\/p>\n\n\n\n

Listen to the composition on YouTube:<\/p>\n\n\n\n

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