Mario Ros Vidal was born in Barcelona in 1963. He studied composition with C.Capdeville and C. Guinovart. In 1993 he became a member of the Associació Catalana de Compositors. In 1994 he obtained the Honor Prize in Superior Grade in the Superior Music Conservatory of Barcelona. Chamber music is particularly prominent in his output, from solo instrumental works to songs for solo voice and instrumental ensemble.
He has been commissioned by the Juan March Foundation, the Associació Catalana de Compositors and various interpreters. Particularly noteworthy are his El sueño de un extraño for piano, violin and cello (1996), the Second String Quartet (1995), Sequence for flute (1991) and the Quintet per a l'avenir for flute, clarinet, violin, cello and piano (1994). His most extensive work to date is the cantata An(Dante) ne la Vita Nuova (1992-93), on texts from Dante Alighieri, for narrator, baritone and orchestra. A devoted serialist, he made a profound study of the works of Webern and Pierre Boulez and has published articles and lectured on the subject. From 1993 to 1996 he taught accompanying and orchestration at the Superior Music Conservatory of Barcelona.
To find out more about Ros, visit the website www.accompositors.com/ros/ros.html
In a note accompanying the score of El sueño de un extraño (A Strange Man's Dream), Mario Ros Vidal writes: "El sueño de un extraño is a work conceived from a rather particular perspective as a trio. In reality, during the approximately 17 minutes of music, there are few instances in which the three instruments accompany each other in the traditional sense of the term. Each player develops, as the basic material of his part, several thematic elements unique to and characteristic of his instrument. The enigmatic chords played by the piano at the opening, which might symbolize the beginning of the ‘dream,' immediately encounter support from the strings, until this union of the three instruments is interrupted by the piano alone. Then, a lengthy cadenza by the cello—nearly three minutes long—takes over the dominant role heretofore played by the piano. The initial ‘battle' has been won. An ecstatic ‘molto calmo' invades the sonic landscape. In the midst of a slow succession of harmonies the violin gradually becomes the protagonist. Sonic images already heard (or dreamed) seem to reappear and impose themselves on the musical discourse. The dream already dreamed has returned, although inevitably we recognize that, even though this is the same dream, all is not equal. One suspects that the simple repetition floods the original dream with new tensions. Images reemerge charged with new energy until the tension breaks in a new section marked ‘molto calmo.' Ecstatic and surely more distant. It may well be the last moment of rest for the unconscious, before we grasp, during the accumulation of sonic images piled up by memory and time, that our dream was in reality A Strange Man's Dream."


updated: 8/11/2011