73 music sheets
He was born in Barcelona in 1953 and studied music at the Conservatori Superior de Música del Liceu, where he obtained the title of Senior Professor of the Clarinet. After that he continued his study of this instrument in France and later became familiar with a repertoire of contemporary music and played the clarinet in various chamber music groups. Between 1976 and 1990 through his performances in numerous concerts he made music for the clarinet more widely known, debuting and recording works by contemporary composers.
The year 1976 saw the beginning of his creative stage with compositions in which he used flexible procedures and new manners of notation. Three years after he dispensed with this practice and returned to conventional notation. The first of his numerous symphonic works was La ciutat de les estrelles (The city of stars). From that moment on he received commissions from various orchestras. From these commissions arose works like the Concert n.1 for clarinet and orchestra, and the Simfonia Americana (American Symphony), and more recently the Fantasia sobre l’òpera El viatge de Marlow (A fantasy about the opera Marlow’s Journey) and the Danses d’Ibèria (Dances of Iberia).
Picó has an extensive chamber music oeuvre which is the result of his friendship and collaboration with different instrumentalists in which he displays a special preference for groups with clarinet and/or saxophone. Among these the Sonata a Colombina for clarinet and piano stands out along with the Sonata Marina for saxophone and piano, and the Danses de Zaira for clarinet, oboe and bassoon. He also wrote various chamber works such as El paradís de les muntanyes (The paradise of the mountains), which debuted in 1998 and was recorded to be released on disk by Columna Música, as well as Hotel Occident and Urbs.
In 1987 Picó drew up the project for the Catalunya Música broadcast and was head of programs until December 1990. He is the author of the book Xavier Benguerel, obra y estilo (Xavier Benguerel, his work and style), (2007, Idea Books).
Author: Rodríguez Picó, Jesús
The Saturday's Cantata by Jesús Rodríguez Picó combines modality and tonality making possible the use of different resources according to the characteristics of each instrument and the practical possibilities of young students.
Author: Rodríguez Picó, Jesús
The Concertino per a clarinet i cordes takes the 20th century concertinos for clarinet as its reference, using the technical resources proposed by such works. In spite of being divided into two parts, the piece is written as a continuous work which is, however, full of contrast.
Author: Rodríguez Picó, Jesús
When the author composed this piece drew on three reference points, the first of which being Baroque instrumental music; the second reference is the sounding of bells typical of the city of Cervera; thirdly, there are allusions to compositions from Stravinsky's second period.
Author: Rodríguez Picó, Jesús
There is a certain degree of continuity between the Concerto Nr. 1 for clarinet and orchestra (1989) and the Concerto Nr. 2 (1990), and they in fact have many similarities, such as the relationship that is established between the orchestra and the solo clarinet, the use of expressive clarinet passages of great technical complexity, and also thematic...
Author: Rodríguez Picó, Jesús
These two pieces for guitar to mark the centenary of Francisco Tàrrega were commissioned by the guitarist David Sanz. Conte breu (Short story) the virtuosic nature by use of fast notes and the oriental motifs that Tàrrega used in some of his works; and Estudi 1 (Study 1) there are some quite rhythmic, dancing passages, but it also has some lyrical and...
Author: Rodríguez Picó, Jesús
This melody, taken from the repertoire of the chansonniers, is also representative of a musical repertoire that interested Poulenc, one which he made use of in the third movement of his Clarinet Sonata.
Author: Rodríguez Picó, Jesús
Taking advantage of the characteristics of cobla instruments, the composer moved away from the initial concept of the music for open spaces and conceived the work to be played in a concert hall, with orchestration featuring small solo instruments combined with the depth of sound typical of thecobla.
Author: Rodríguez Picó, Jesús
Taking advantage of the characteristics of cobla instruments, the composer moved away from the initial concept of the music for open spaces and conceived the work to be played in a concert hall, with orchestration featuring small solo instruments combined with the depth of sound typical of thecobla.