Born in Barcelona on April 16, 1932. In his hometown, between 1952 and 1954, he attends musical studies and learns to play the piano, the violin, and musical composition.
In 1973 begins his dedication to music reviews at the same time that his career as a composer intensifies. His catalog today has eighty musical compositions, most of which have been programmed and played for the first time in the Catalonian music scene as well as Spain’s, and in other cities of Europe, Asia, and America. He has also been a judge in musical composition and interpretation competitions.
His articles have been published in Serra d’Or, Revista de Catalunya, Revista Musical Catalana, El Correo Catalán, Destino, Barcelona Metrópolis, and Barcelona Creació (Yokohama, 1990). He has also collaborated in the activities of the Universitat Catalana d’Estiu from Prada de Conflent (France).
After an evolutionary period that goes from neoclassical postulates (Suite Catalana) to proposals of an atonal and serial character (Calidoscopi, Díptic, Climes, Gèminis), he gathers the experiences extracted from these two forms, mixes them, and turns them into a new style with a markedly expressive content (Temperaments, Proses disperses), although on certain occasions he returns to the original styles (Camins Somorts, Auguris, etc.).
Francesc Taverna-Bech died 16 April 2010.
The work Barocke Partita by Francesc Taverna Bech has five movements for piano and chamber orchestra: Intrata, Fughetta, Intermezzo (for piano solo), Canzonetta and Invenzione.
The eight short movements of Calidoscopi I by Francesc Taverna-Bech emerge around a set of twelve sounds –almost never followed in the original order– and a rhythmic motif.
Calidoscopi III by F. Taverna-Bech is not just a descriptive work but features numerous reflective elements and a certain melancholy, like a flow of nostalgia for other times when, as a child, he was captivated by the toy.
Cicle per a viola sola by Francesc Taverna-Bech has a strongly lyrical character; it has four movements which counterpose each other, but there is a lot of similarity between the second and fourth movements.
In this collection the author has expressed his vision of the night when the city is silent, and the vision of the moon looks down on us and lights our way.
The first and last of the five pieces may be considered as an interplay of expressive contrasts. The second is an invention of an atonic character. The third is an kind of anti-romantic waltz, while the fourth piece is the simple evocation of the night with its murmurs and fading sonority.