Chiffres et constellations amoureux d’une femme (select)


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. 


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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). 

On this new album, Mosaic, the Musicalis Trio takes a step further and makes the triple commitment to that which is part of its foundational DNA: the augmenting of the repertoire for its formation, the music composed in our time, and the music of Spain. Throughout its trajectory the Musicalis Trio has commissioned and premiered close to thirty works by the most important Spanish composers of today, living in Spain or abroad, and in many cases these works are dedicated to the trio. Here we have a collection of five 21st century scores written expressly for the Musicalis Trio. Four of them, those by Hèctor Parra, José Luis Greco, Ramón Paús and José María Sánchez-Verdú, are written for bass clarinet, violin and piano, whereas the work for B clarinet, violin and piano is signed by Jesús Torres. On the one hand, this is clearly a boon to the growth of the repertoire for an instrument as beguiling, versatile and still relatively unexploited as the bass clarinet. But the five creations, which take advantage of all the characteristics and idiosyncrasies of the Musicalis Trio, also reveal the group’s desire to showcase an extended range of styles and aesthetic approaches. This is evident as well in the heterogeneous designs and illustrations that the multifaceted artist Ion Fernández de las Heras has made for each piece. 

Eduardo Raimundo

Clarinet, Bass clarinet 

This multifaceted and flexible clarinettist combines his work in the Spanish National Orchestra with a wealth of activity in the area of chamber music, teaching and performing on Early Music instruments. 

His varied and manifold education allows him to collaborate with musicians and groups of very different styles and interpretative criteria such as the Baroque Orchestra of Freiburg, II Giardino Armonico, Europa Galante, Orkiesta Historyczna, Le Cercle de l´harmonie, Ínsula Orchestra, Ensemble Zefiro, Quintetto Lumi, Praeteritum, Mille tre, Plural Ensemble, Neopercusion, Alart Quartet, Mixtour, Spira Mirabilis, Orquestas Palau de les Arts de Valencia, Cadaques, RTVE, Valencia, and Illes Balear. 

He has been awarded the 1st Prize in the Chamber Music Competition Monserrat Alavedra de Terrasa, 1st prize in the Chamber Music Competition Ciutat de Manresa, 3rd Prize in the Chamber Music Competition of Guadamora and 3rd Prize in the Chamber Music competition “Cidade d’Alcobaça” and made recordings for the Deutsche Grammophon, Harmonía Mundi, Alpha Classics and IBS Classical labels. 

He is a founding member of the Lumi Quintet with which he has performed the Classical-Romantic repertoire for fortepiano and wind quartet on historical instruments. In his facet as soloist, noteworthy are the commission and premiere of the two first concertos for bass clarinet and orchestra by Spanish composers: José Luis Greco and Ramón Paús 

From 2002 to 2006 he was a member of the Symphony Orchestra of Madrid (house orchestra of the Royal Theatre), and since 2008 he has been the bass clarinetist of the Spanish National Orchestra. He is also professor of clarinet and bass clarinet in the Katarina Gurska Conservatory.

Mario Pérez

Violin, Viola

He is especially fond of his teachers Clarence Myercoug, Wilchem Melchor  (Melos Quartet),Vartan Manoogian, Lothar Strauss, Vicente Huerta, Rainer Sonne and  Wladimiro Martín, with whom he began his exciting journey at the age of 6. He has worked alongside great soloists such as Joshua Bell, F.P. Zimmerman, Nigel Kennedy, Gidon Kremer, Sofie Mutter, L.Kavakos, among others, and such great conductors as Simión Bychkove, Kent Kanago, Gustavo Dudamel, etc. 

Conquering fear and achieving great success as soloist in the Concerto Grosso No. 1 by Alfred Schnittke in the National Auditorium (2014), the recording of the Carmen Suite and the Mundial de la Vela Festival of Santander (2017) are also consequences of less fortunate periods and a spiritual search which can at times lead to depression: “Sometimes one has to touch bottom to be able to surpass oneself, and it is then that one shines more brightly and when the best of oneself comes out.” 

Awarded the prize for the best interpretation of Spanish music in the “Padova International Competiton” (2011) and at El Escorial, he has performed as soloist with the Spanish National Orchestra (together with Gordan Nikolic), the wind ensemble, Baroque Orchestra and Symphonic Orchestra of the Royal Advanced Music Conservatory of Madrid. He has given recitals in Spain, Europe (Germany, Italy, France, Romania, etc.), three tours of Mexico, etc.

Francisco Escoda


Born in Alicante, he took his first classes in his native city, later continuing with M. Carra (Royal Superior Music Conservatory), J. Huizing (Sweelink Conservatory of Amsterdam), and received advice from great pianists such as A. de Larrocha, Lazar Berman, Giorgy Sandor, Claude Helffer, Piotr Paleczny and Leonard Stein. He later was admitted to the class of Arthur Rubenstein’s disciple, Eugen Indjic, at the Schola Cantorum of Paris, where he distinguished himself with
a Très Bien mention with “Unanimity and Congratulations from the Jury”, maximum distinction from the Institution. 

Awarded in National and International Competitions (“Cidade d’Alcobaça”, “Holland Music Sessions”, “Marisa Montiel” of Linares, “José Roca” of Valencia, “Manuel de Falla” of Granada, Ciudad de Albacete, Juventudes Musicales de España, “Gerardo Diego” of Soria, Ciutat de Manresa, “Primitivo Lázaro” of Huelva, among many others), he has given recitals around the world and participated in festivals such as the “Chopin Marathon” of Groningen, the “Acropolium” of Carthage, the “Chopin Festival” of Bergen and the UIS Festival of Colombia, as a representative of Spanish piano music. He has recorded for Albert Moraleda, Spanish National Radio and IBS Classical/Naxos. 

He has taught in various Advanced Music Conservatories in Spain and today combines his concert activity with teaching and conducting at the International University of Valencia. He has also been an Associate Professor at the Schola Cantorum of Paris since 2016.

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