Concert | LYRA · The choir as inner light

Church of Sant Iscle and Santa Victòria in La Massana
Wednesday, August 5, 2026 9:30 p.m.
Available seats: 149
JORDI VERGÉS & MARTA MATHÉU (ESP)

Organ & soprano with works by Bach, Haydn, Gounod and Travers

Program note:
Lyra is one of the oldest constellations in the firmament. Associated with the myth of Orpheus and the expressive power of music, it symbolizes inner harmony and the transformative power of singing. Small in size but with an extremely intense light —with the star Vega as a bright summer beacon—, Lyra represents the clarity that is born from the very center of sound.

This program places the Bachian chorale as a luminous axis. The chorale is prayer and architecture, contained emotion and perfect structure. Bach's arias—from the Magnificat, the Passions, and the cantatas—reveal a spirituality that is not external drama, but inner light. The voice dialogues with the organ as if it were an extension of the same breath, in a sonic communion of balance and transparency.

The works for organ alone frame this universe: the Concerto BWV 592, a transcription of an Italian model, shows the brilliant and structural Bach of Weimar; the “Dorian” Toccata displays energy and so...

Church of Sant Iscle and Santa Victòria in La Massana
Wednesday, August 5, 2026 9:30 p.m.
Available seats: 149
JORDI VERGÉS & MARTA MATHÉU (ESP)

Organ & soprano with works by Bach, Haydn, Gounod and Travers

Program note:
Lyra is one of the oldest constellations in the firmament. Associated with the myth of Orpheus and the expressive power of music, it symbolizes inner harmony and the transformative power of singing. Small in size but with an extremely intense light —with the star Vega as a bright summer beacon—, Lyra represents the clarity that is born from the very center of sound.

This program places the Bachian chorale as a luminous axis. The chorale is prayer and architecture, contained emotion and perfect structure. Bach's arias—from the Magnificat, the Passions, and the cantatas—reveal a spirituality that is not external drama, but inner light. The voice dialogues with the organ as if it were an extension of the same breath, in a sonic communion of balance and transparency.

The works for organ alone frame this universe: the Concerto BWV 592, a transcription of an Italian model, shows the brilliant and structural Bach of Weimar; the “Dorian” Toccata displays energy and solemnity. Travers' Trumpet Voluntary brings English nobility, while Haydn's Benedictus introduces classical serenity. Finally, Gounod's Ave Maria, superimposed on the prelude to the Well-Tempered Clavier, transforms Bach's harmony into an aura of suspended purity.

Like Lyra in the summer sky, this concerto proposes music that shines from within: the choir as a radiant center, as a light that guides the spirit in silence.