Miquel Roger Casamada (Barcelona, Spain, 16 July 1954 - Vilagrassa, 24 March 2017) was a Spanish Catalan composer and music producer, who began composing in 1977. He founded the Anacrusi record label and produced several records with soloists, chamber ensembles and orchestras, including the Barcelona Symphony Orchestra and National Orchestra of Catalonia (Orquestra Simfònica de Barcelona i Nacional de Catalunya).[1]
Biography
He was born in Barcelona in 1954, and began his studies at the Municipal Conservatoire of Barcelona (Conservatori Superior Municipal de Música de Barcelona), and subsequently studied with Josep Soler. In 1985 he graduated with a degree in Arts and Philosophy at the University of Barcelona.
The recordings of his works are as follows: Triologia (Paris String Trio); Blanca Quartet (Enesco Quartet); Per a la Liliana (in two versions, by the pianist Emili Brugalla and by Montserrat Massaguer); Set de set (by the pianist Assumpta Coma); Quintet de Vent núm. 1 (Harmonia Quintet de Vent);Sis estudis per a clarinet (J. Fuster); Patinnazo (by the flautist Patricia Mazo); his chamber opera Nascita e Apoteosi di Horo (the Chamber Orchestra and choir of the Conservatoire of Badalona conducted by J. Luis Temes).
In 1997 he recorded several of his works for soloists and chamber music with the label Ars Harmónica.
In the 1992–1993 season, the Orquestra Ciutat de Barcelona performed his work Tres Moviments Simfònics, in the summer of 1994 the same orchestra recorded his Concert per a Percussió, Piano i Orquestra, with the soloists Assumpta Coma on piano, and Ignasi Vila on percussion. The conductor was J. Pons.
His chamber opera, Nascita e apoteosi di Horo, won a prize at the First Chamber Opera Competition held by the Spanish National Youth Orchestra.
He taught musical theory at the Manresa Conservatoire (1982-1986). In 1987 he was appointed head of the music theory department and teacher of counterpoint, music history, aesthetics and composition at the Badalona Conservatoire.
Roger's music has its roots in the Second Viennese School and has developed gradually towards an aesthetic free of academic restraints. At times, the morphological structure of his music displays a markedly contrapuntal mentality which, by its audacity, seems to establish a link with the inquiring spirit of Renaissance polyphony. On the other hand, he occasionally displays a clearly homophonic tendency. His work stands out for the logical structure and austere progression, free of digressions, which he applies to the development of his compositions.[3]
Discography
Miquel Roger: Obres de Cambra I (Ed. Ars Harmónica)
Miquel Roger: Obres de Cambra II (Ed. Anacrusi s.l.)
Miquel Roger: Obres per a piano (Ed. Anacrusi s.l)
Quartet de corda núm. 2 (Kreuzer Quartet, Ed.Metier,)
Quartet de corda núm. 4 (Ed. Conservatori de Badalona)
Peça per a piano, percussió i orquestra (Ed. Fundació Música contemporània)