Moonwinds

Moonwinds was born from the artistic initiative of Joan Enric Lluna with the aim of bringing together outstanding wind instrument players to form a stable chamber music group. Moonwinds aims to bring to the public a new vision of wind instruments, which have a wide repertoire and unique sound qualities, which have given them a privileged place in the classical scene, but which until now had yet to be rediscovered.

The members of the group have an exemplary professional career in the most outstanding orchestras and teaching centres all over Europe. The stable members of the group are: Cristina Gómez and J. Antonio Ferriol (oboes), Joan E. Lluna and M. Ángeles Galán (clarinets), David Tomás and Higinio Arrue (bassoons), David Fernández Alonso and José M. Lluna (horns), Toni García (double bass). Other members collaborate with MW when the repertoire requires it, always combining great instrumentalists and good friends, a basic part of the group’s philosophy.

Moonwinds was presented to the public in the spring of 2006, and already in the winter of the same year he released his first recording with Harmonia Mundi dedicated to Mozart (Gran Partita) and Martín y Soler, a work that was released on a tour of the Valencian Community and Catalonia. The second disc, also by Harmonia Mundi, with the transcription of the opera Una cosa rara by Martín y Soler, together with other works by the same composer, was presented at the Cadogan Hall in London, and the third CD, with the Serenatas by W.A. Mozart, has been released by Temps Record, distributed by HM Ibérica.

Moonwinds starred at the Victoria and Albert Museum in London at the opening of the Spanish presidency of the European Community in January 2010, invited by the Spanish Embassy in the British capital. Memorable have been his performances at the Palau de la Música Catalana in Barcelona and the Palau de la Música in Valencia. Future engagements will take MW around Spain and other European countries. During the 2012-2013 season Moonwinds was resident group at the Auditori de Barcelona.

Moonwinds musical line-ups

MOONWINDS HARMONIEMUSIK

Between 5 and 15 wind musicians.

MOONWINDS ENSEMBLE

Between 3 and 12 musicians mixed strings, winds, piano.

MOONWINDS SIMFÒNIC

Chamber orchestra between 18 and 50 musicians

Moonwinds Harmoniemusik

Programmes

Programme 1
(9 musicians)

Mozart, Serenade in C minor (Spotify)
Martín y Soler, Divertimento (Spotify)
J. Strauss, Sonatina (incorporating students)

Programme 2
(12 musicians)

Dvorak, Serenata
C. Cano, Lunas de Klee
Horowitz, variations on Couperin

Programme 3
“En estil popular”

(10 musicians)

M. Palau, “en estil popular” (Spotify)
G. Jacob, “Old bottles, new wine”
Bretón/Ortega, La Verbena de la Paloma (Spotify)

Programme 4
(5 musicians + pianista invitado/a)

A/
Tomás Bretón, Sextet for piano winds
J. Bal y Gay, Divertimento for winds
F. Poulenc, sextet
—–
B/
Quintets for piano and winds by Mozart and Beethoven

Programme 5
Ópera de bolsillo
(9 musicians + 3 voices)

W. A. Mozart, The Marriage of Figaro
V. Martín y Soler, Suite from the ballet “La belle Arsene”.
V. Martín y Soler, Una cosa rara

Moonwinds Ensemble

Programmes

Programme 1

Lamote de Griñón, Noneto
F. Schubert, Octet

Programme 2

L. Spohr, Fantasia on a theme by Danzi (Youtube)
A. Piazzola, Contemplation and dance (Youtube)
L. van Beethoven, Septet op 20

Programme 3

C. Cano, Klee’s Moons (Youtube)
Hosokawa, Variations
B. Casablancas, Quadern de Haikus (Spotify)
Calandín, clouds
Commissioned premiere

Moonwinds Simfònic

“A before and after “

In the times of widespread uncertainty in which we are living, universal fraternity stands as a profoundly poetic and social resource in the face of adversity. A before and an after, as the Lebanese writer Wajdi Mouawad points out in his play “A Howitzer in the Heart”. This is where we are with the creation of the Moonwinds Symphony Orchestra, bringing together musicians from different generations and experiences, reinforcing the criteria of solidarity and cultural creativity, uniting art and fraternity as a response to the before and after in which we find ourselves, strengthening humanism and life with music and friendship as essential tools for a different and undoubtedly better world. Behind all this is the clarinettist, conductor, organiser and great educator Joan Enric Lluna, a musician immediately associated with professional quality and generosity. His versions of works by Mozart, Weber, Rodrigo or Spanish music in exile; his exemplary sense of organisation in a festival like the one in Godella, or his vitality when he shares with his fellow orchestra members the great symphonic works, say it all. The creation of this symphony orchestra is a model of coexistence and commitment. It is no easy challenge, no doubt, but above all it is a lucid response to uncertainty based on light, artistic courage and emotion.

Juan Ángel Vela del Campo, November 2020

Read more

In November 2020, in the middle of the pandemic, the Moonwinds group inaugurated its transversal project Moonwinds Simfònic, as always combining the search for excellence and, on this occasion, a pedagogical work, taking advantage of local musical human resources and combining them with the great figures that have always formed part of the ensemble. The project was inaugurated with works by Beethoven and Óscar Colomina, with Josep Colom as soloist and Joan Enric Lluna conducting.

In May 2023 Moonwinds symphonic premiered the music of two unpublished ballets by V. Martín y Soler, El Rapto de las Sabinas and La Bella Arsene. The two suites of these ballets, signed by Joan Enric Lluna and the musicologist Robin Sansen, have been recorded and will soon be released on the Sony Classical label.

Moonwinds was born from the artistic initiative of Joan Enric Lluna with the aim of bringing together outstanding wind instrument players to form a stable chamber music group. Moonwinds aims to bring to the public a new vision of wind instruments, which have a wide repertoire and unique sound qualities, which have given them a privileged place in the history of music, but have yet to be rediscovered by the public of the great concert halls.

Moonwinds has worked on the classical repertoire, the basis of its repertoire (Mozart, Haydn, Beethoven), rescuing music by Vicente Martín i Soler. Its repertoire also includes the great works of romanticism: Dvorak, Schubert, Mendelshonn, Strauss, and in recent years it has commissioned and premiered works by composers such as César Cano, Blai Soler, Emilio Calandín, combined with current repertoire by composers such as A. Part, SIr J. Tavener, J. Horovitz and T. Hosokawa. Hosokawa.
The members of the group have an exemplary professional career in the most outstanding orchestras and teaching centres all over Europe. The basic philosophy of the group is always based on the combination of great instrumentalists and good friends around their passion for chamber music.
Moonwinds was presented to the public in the spring of 2006, and in the winter of the same year they released their first album with Harmonia Mundi dedicated to Mozart (Gran Partita) and Martín y Soler, a work that was released on a tour of the Valencian Community and Catalonia. The second CD, also by Harmonia Mundi, with the transcription of the opera Una cosa rara by Martín y Soler, together with other works by the same composer, was presented at the Cadogan Hall in London, and the third CD, with the Serenatas by W.A. Mozart, was released by Temps Record, distributed by HM Ibérica.
In 2017 his CD dedicated to the recovery of music by two musicians of the Generation of the Republic: Salvador Bacarisse and Jesús Bal y Gay was released on the IBS label, Le jour de l’an, a recording that was awarded the gold seal of Melómano magazine and was received with great enthusiasm by critics and the specialised public. The repertoire was presented at the Fundación March in Madrid.
In 2022 his recording “En estil popular” was released, a tribute to composers mainly from the “grupo de los jóvenes” in Valencia, who in parallel to the generation of ’27 in Madrid laid the foundations for the avant-garde aesthetics of the years of the second Republic.
Moonwinds performed at the Victoria and Albert Museum in London at the opening of the Spanish presidency of the European Community in January 2010 at the invitation of the Spanish Embassy in the British capital. Memorable have been his performances at the Crusell Festival in Usikaupunki, Finland, where he was a special guest in 2015, as well as at the Palau de la Música Catalana in Barcelona and the Palau de la Música in Valencia. During the 2012-2013 season Moonwinds was resident ensemble at the Auditori de Barcelona.
Recently Moonwinds has been invited to festivals such as Chemsky Krulov-Prague, and to important concert halls in Bilbao, Madrid, Valencia and Barcelona.
Future engagements will take MW around Spain and other European countries. New projects include the recording of a new CD dedicated to historical recoveries and to the repertoire that the group has premiered and commissioned.

Programmes

Programme 1
Homage to Rodrigo

J. Rodrigo, Soleriana, selection (Spotify)
J. Rodrigo, old dance airs
J. Rodrigo, Andalusian Scene
M. Ravel, Le to beau de Couperin (Youtube)
M. de Falla, El Amor brujo (The Witch Love)
J. Rodrigo, Concierto de Aranjuez

guitar soloist to be determined

Programme 2
The unpublished ballets of Martín y Soler. Staged concert

Martín y Soler, “El rapto de las Sabinas” (with narrator) (Spotify)
W. A. Mozart, Symphony no. 25
Martín y Soler, “La Bella Arsene” (Spotify)

Programme 3
“In C minor ” Beethoven!
Commissioned work about Beethoven

L. van Beethoven, Piano Concerto no. 3 in C minor (Youtube)
L. van Beethoven, Symphony no. 5, in c minor (Youtube)

Un viaje a Nápoles

Multimedia

Photographies

Multimedia

Discography

Un viaje a Nápoles

En estil popular

Benet Casablancs: The Clarinet Music

Mozart Serenatas
Moonwinds, Joan Enric Lluna
Mozart Serenatas. Moonwinds
Wolfgang Amadeus Mozart, Serenata en Mi b Mayor K375
1. Allegro maestoso / 2. Menuetto I / 3. Adagio / 4. Menuetto II / 5. Allegro
Serenata en Do menor K388 (384a)
6. Allegro / 7. Andante / 8. Menuetto in canone – Trio al canone rovescio / 9. Allegro
Martín y Soler Divertimenti
Moonwinds, Joan Enric Lluna
Martín y Soler Divertimenti. Moonwinds
HMI902010. Harmonia Mundi
Vicente Martín y Soler (1754-1806)
Una cosa rara ossia bellezza ed onestà (Transcriptions d’airs d’opéra pour ensemble à vent par Johann Nepomuk Wendt, révision par Peter Schreiber)
1. Nº1 Sinfonia / 2. Nº4 Più bianca di giglio / 3. Nº5 UN briccone senza cuore / 4. Nº6 Lilla mia, dove sei gita / 5. Nº10 O quanto un sì bel giubilo / 6. Nº13 Cavatevi padroni la gran follia di testa / 7. Nº14 Dammi la cara mano / 8. Nº 15 Consola la pene / 9. Nº16 Non farmi più languir / 10. Nº18 Su, su, cacciatori – Compatite, o gran Regina – Viva, viva la Regina – Seghidiglia: Quando l’alba nascente.
11-14. Divertimento nº2 en Si bémol majeur
15-18. Divertimento nº3 en Si bémol majeur
19-22. Divertimento nº4 en Si bémol majeur
Apodado ‘el Mozart valenciano’, Vicente Martín y Soler era tan famoso en su tiempo como su contemporáneo austriaco. Su gran éxito, la ópera Una cosa rara, muestra una ‘cosa muy rara’: la belleza y la honradez reunidas en la persona de una hermosa campesina! La obra fue arreglada para un conjunto a viento firmados por Johann Nepomuk Wendt, y citados por Mozart en su Don Giovanni. En complemento del programa: tres ‘divertimenti‘ inéditos al disco.
Vicente Martín y Soler, nicknamed ‘the Valencian Mozart‘, was a famous in his own day as his Austrian contemporary. The ‘very rare thing’ depicted in his biggest success, the opera Una cosa rara, is the combination of beauty and honesty, in the person of a charming peasant girl! The work was arranged for wind ensemble by Johann Nepomuk Wendt, and Mozart quoted from it in Don Giovanni. This programme is completed by premiere recordings of three divertimenti.
Mozart. Gran partita

Joan Enric Lluna

Mozart. Gran partita

Wolfgang Amadeus Mozart (1756-1791)

Serenata en Si b Mayor K.361 Gran Partita

1. Largo-Molto Allegro (9:06) / 2. Menuetto-Trio I-Trio II  (8:21)/ 3. Adagio (5:10)/ 4. Menuetto: Allegretto-Trio I-Trio II (4:35)/ 5. Romance: Adagio-Alegretto (6:21)/ 6. Tema con 6 variazioni (Andante) (9:10)/ 7. Finale (Molto Allegro) (3:20)

El rapto en el serrallo (Arreglo para viento deJohann Nepomuk Wendt)

8. Obertura (Presto) (1:27)/ 9. ‘Hier soll ich dich sehen’ (2:44)/ 10. ‘Ich gehe, doch rate ich dir’ (2:54)/ 11. ‘Durch Zärlichkeit und Schmeichein’ (2:54)/ 12. ‘Wenn der Freude Tränen fliessen’ (3:49)/ 13. ‘Ha, wie will triumphieren’ (1:56)/ 14. ‘Welche Wonne, welche Lust’ (2:38)/ 15. ‘Vivat Bacchus, Bachus lebe’ (1:59)

Vicente Martín y Soler (1754-1806)

Divertimento para octeto de viento sobre temas de Una cosa rara

16. Allegro con brio (2:44)/ 17. Andante sostenuto (3:03)/ 18. Allegro (2:05)/ 19. Cotillón-Trío (1:41)

Duración total: 76:07

Mozart y sus contemporáneos a menudo debían satisfacer los pedidos musicales de la aristocracia para todo tipo de eventos mundanos. Sin embargo, el músico de Salzburgo supo otorgar una dimensión mucho más profunda a un género tradicionalmente sin demasiadas pretensiones y la Gran Partita, sin perder su finalidad lúdica, es una magnífica muestra de ello. Paralelamente, losDivertimentos de Martín y Soler sobre Una cosa rara, y de Went sobre El Rapto en el Serrallo, completan un retrato certero de lo que era, en el siglo XVIII, la música de noble entretenimiento.

Along with his contemporaries, Mozart was often called upon to fulfil de aristocracy’s musical requests destined for all kinds of society events. He, for sure, knew how to provide a much profounder dimension to any genre which did no normally have too many expectations placed upon it and the Gran Partita, without losing its playful aim, is a superb example of this. In a similar way, theDivertimentos of Martín y Soler on Una cosa rara, and of Went on Die Entfübrung aus dem Serail, fill out an accurate portrait of what was, in the 18th century, music meant for noble entertainment.

Multimedia

Video

Press

Moonwinds, con dirección de Joan Enric Luna, en el CNDM

Por Juan Carlos Justiniano
Moonwinds. Joan Enric Lluna (dir.). Obras de César Cano, Arvo Pärt, José Luis Turina, Toshio Hosokawa, Blai Soler y Joseph Horovitz. Series 20/21. Ciclo Museo. MNCARS Auditorio 400. 17 de noviembre de 2014, 19:30 horas.

https://www.codalario.com/moonwinds/criticas/critica-moonwinds–con-direccion-de-joan-enric-luna–en-el-cndm_2557_5_6205_0_1_in.html

Otro lunes, el ciclo Museo del Centro Nacional de Difusión Musical (CNDM) –quizá el ciclo más interesante, sin duda el más necesario– cumple con su labor y se erige como el mayor referente para la música actual y de nueva creación programando en cada concierto estrenos absolutos de obras preferentemente españolas. En esta ocasión, la sugerencia y la inmediatez definieron el concierto protagonizado por el Ensemble Moonwinds que tuvo lugar el pasado 17 de noviembre en el Auditorio 400 del museo Reina Sofía. Moonwinds, el proyecto que comenzara a caminar en 2006 bajo la dirección deJoan Enric Lluna, conforma una original e inspiradora propuesta en que los timbres de la madera y el metal simpatizan a la perfección y quedan orgánicamente cohesionados. Esa idea nuclear, elaborada desde un planteamiento camerístico, se expresa, a su vez, en la elección de un repertorio muy acertado con partituras que se mostraron complejas, exigentes, y que requerían una formación, como Moonwinds, con experiencia, compromiso y gran poder de concentración.

Y es que, la personalidad artística de Lluna (curtido en el repertorio clásico-romántico) se intuye reflejada en el programa con que el ensemble visitó Madrid, constituido por una mezcolanza de modernidad con cierta querencia clasicista A modo de ostinato, ese continuum poético transitó a lo largo de todo el programa, de manera especial en las dos obras de César Cano. Le Bondissante et La Couperin (2014) consiste en un arreglo para octeto de viento que reformula dos obras para clave del francés y que fabula con esas músicas pretéritas a partir del buen gusto, la elegancia y el refinamiento. Por su parte, Lunas de Klee (2014), obra expresamente encargada por el CNDM, vivió su estreno absoluto. La partitura aporta a esa inmediatez de la música del valenciano un toque vanguardista con el que logra convivir y fluir de manera natural e inmediata. Así, César Cano se inspira en cinco cuadros del pintor en los que el astro lunar y su poder sugestivo constituyen el centro de la idea pictórica. La obra no posee, según su autor, intención descriptiva o programática alguna; por el contrario, es en ciertas analogías estéticas donde el compositor se encuentra con el pintor alemán, a caballo entre la figuración y la abstracción. De esta manera, la convivencia entre lo viejo y lo nuevo, entre la abstracción y el figurativismo caracteriza la idea musical de la obra de Cano, cuyo lenguaje depurado se construye, como en la obra de Klee, a partir de líneas (melódicas) y –por qué no– formando armonías que apelan directamente a la sensibilidad y al oído. Contra estos dos componentes, las segundas vanguardias –que prácticamente monopolizaron la música de los años centrales del siglo XX– dirigieron su grito con cierto autoritarismo entre sus filas. Compositores como Arvo Pärt, sin embargo, intentaron apartarse de cualquier fundamentalismo estético apelando al espíritu y a lo más intimo de la condición humana representando una tercera vía disidente con partituras como Fratres (1970/1990). La obra, que el estonio ha revisitado en numerosas ocasiones, se desarrolla de una manera continua inspirada en un patrón constante que, a modo de mantra, remite al mundo espiritual oriental.
Más terrenal, en la obra de José Luis Turina, Octeto de agua (2004), también se observan convivencias estéticas, resonancias impresionistas en timbre y armonías que por momentos recuerdan a las líneas contrapuntísticas del saxofón de Charlie Parker. Por su parte, la obra del japonés Toshio Hosokawa, Variations (1994) es, sin embargo, deudora directa del mundo de Darmstadt, si bien inspirada en la capacidad contemplativa y estoica del arte tradicional japonés. Por su parte, la partitura de Blai Soler, Antiphona (2010/2012), guarda ese sentido responsorial al que alude el título enfrentando a dos grupos instrumentales y sonoros en igualdad de condiciones que, sin llegar a conversar, replantean ideas que se desafían a sí mismas. La obra, ya estrenada por Moonwinds en 2012, refleja una incomodidad, una angustia que se recrea en la disonancia, acaso la idea nuclear de un lenguaje plúmbeo que se reitera en una situación de pesadumbre complejamente resuelta en la que los sonidos se enfrentan a sus homónimos resultando una amalgama de clusters y discordancias continuas. De nuevo, la recreación y la recomposición del universo estético del barroco fueron la inspiración de la última obra de la sesión, la Fantasía sobre temas de Couperin (1962) de Joseph Horovitz. La partitura, compuesta desde el convencimiento en una actitud que apuesta por ensamblar lo viejo con lo nuevo es una música de alto poder comunicativo capaz de reconciliar al público con la creación contemporánea. El personal estilo de la obra del inglés, inspirada en una suerte de neoclasicismo, puso el punto final al concierto ofrecido por Moonwinds con un concluyente, rotundo e inequívoco acorde de La mayor directo al oído.

Mi sinceridad y yo

Por ejemplo, el admirable compromiso hacia la música contemporánea demostrado por el grupo Moonwinds, dirigidos (y acompañados) por Joan Enric LLuna, manifestó que un trabajo riguroso es capaz de poner en valor repertorios que todavía no tienen la certificación del paso del tiempo, de la historia.

 

CONTACT

Joan Enric Lluna
joan@joanenriclluna.com

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