Carles Marigó is a very versatile musician; he has professional experience as a performer, composer, arranger and music educator; and he has participated in many different projects related with classical music, jazz, funk, folk music, painting, theater… alwayscreating strongs relationships between performance, creativity and improvisation in music. Born in 1986, Carles Marigó completed his studies in music performance – Piano at Esmuc (School of Music of Catalonia) in Barcelona. He studied his degree with Vladislav Bronevetsky, obtaining Distinction in his final recital and his final project. Granted by the Catalan National Council for Culture and the Arts (Conca), Carles expanded his training in the Tchaikovsky Conservatoire in Moscow with Irina Plotnikov, where in 2013 he obtained with honors the diploma in Posgraduate Performance Course. At the moment he is finishing his second Degree at ESMUC (MMus Performance at School of Music of Catalonia), while developing his performance career and working in several different projects. He has attended to master classes by professors and performers such as Nelson Goerner, Púppulo Elsa, Elisabeth Leonskaja Barry Douglas Christian Sacharias Paul Badura-Skoda , Jacques Rouvier , María Jesús Crespo , among others.
He has also trained in other performance subjects as jazz or classical improvisation with musicians like Xavier Dotras Albert Bover , Ignasi Terraza , Juan de la Rubia and Emilio Molina . Since 2013, Carles has joined as member and teacher the Music Education Institute IEM. Directed by Dr. Emilio Molina, IEM Music Institute is promoting its innovative Pedagogical System in which Improvisation is the main process of musical learning. Carles Marigó has been awarded in national and international competitions, both in piano performance and composition ( Eugenia Verdet, City of Manresa, Ricardo Viñas, Young Artists Piano Catalonia , Rivers and Virgil, among others) . He has participated in several festivals both as a soloist and as part of different ensembles in many different cities from Spain, Portugal, Holland and Russia. Currently he is combining his performance career with his work as music educator. He is teaching at Liceu Conservatoire of Music (Barcelona) and is Head of the piano department.
Album in physical and digital formats, with a 40 pages book with liner notes by Toni Sala, Gabriela Montero and Emilio Molina in English, Spanish and Catalan.
I listened to the second improvisation, with its bells, its chimes, the chance rebounding of metal balls, with the strumming of the piano. I thought about Marigó’s courage and the sheer muscularity of holding a dialogue with Schubert and Rachmaninoff. A fragment by Houellebecq that I had recently read came to mind: “Studying the old masters for oneself is, basically, the only exercise worth undertaking, and even that one can do without. If we agree with Schopenhauer, the best way to reform the art schools would be simply to close them”. How well you play, man! I also thought. You don’t so much tame the music’s demon as befriend it. You’re not the interpreter -which is a very ugly word-, not the interpreter but rather the accompanist, like the riverbed in relation to the river. Toni Sala.