The Centro Nacional de Difusión Musical new commission will be premiered by Trío Penderecki (Leticia Moreno, Claudio Bohórquez and ?ukasz Krupi?ski).

---

The premiere will take place on 15 March 2027 at the Auditorio 400 of the Museo Nacional Centro de Arte Reina Sofía in Madrid, within the CNDM’s 2026-27 Season. The work will be performed by Trío Penderecki, formed by Leticia Moreno, violin; Claudio Bohórquez, cello; and ?ukasz Krupi?ski piano.

The concert is part of Leticia Moreno’s activities as artist-in-residence at the CNDM during the 2026-27 season. Her residency includes five projects across different formats and repertoires, reflecting what the CNDM describes as her broad artistic range and her commitment to contemporary creation.

Colomina i Bosch’s new work will appear in a programme built around musical memory, transformation and resonance, alongside pieces by Krzysztof Penderecki, Arvo Pärt, Nino Rota, Fazıl Say and Rodión Shchedrín.

The commission deepens Colomina i Bosch’s relationship with the CNDM, which has previously included performances and commissions such as A Silent Geography and Nocturnes for piano trio, which were given their Spanish premiere by Trío Arbós in the Auditorio 400. It also marks a new chapter in his recent chamber music activity, following performances of Nocturnes at the Liszt Academy in Budapest and by ACHROME Ensemble in Bergamo, and the continuing international presence of his solo piano cycle Imatges.

The CNDM 2026-27 season, presented in Madrid, includes 258 activities, 202 concerts, 53 world premieres and 20 commissions by the institution, reaffirming its commitment to contemporary creation, the recovery of musical heritage and artistic dialogue across Spain and beyond.

More information:

CNDM 2026-27 season advance
https://cndm.inaem.gob.es/sites/default/files/2026-06/Avance26-27.pdf

CNDM 2026-27 key dates
https://cndm.inaem.gob.es/node/23765

Beckmesser — CNDM 2026-27 season presentation
https://www.beckmesser.com/cndm-presenta-temporada-2026-27/

Òscar’s new piano miniature, commissioned by Paloma O’Shea, will be premiered by Felix Kehr during the XXV Encuentro de Música y Academia de Santander

---

On 20 July 2026, pianist Felix Kehr will give the world premiere of Òscar’s new solo piano work Campanes al Vespre at Centro Botín, Santander.

Commissioned by Paloma O’Shea, the piece will be presented as part of the XXV Encuentro de Música y Academia de Santander, in a concert dedicated to György Kurtág on the occasion of his 100th birthday. The programme brings together music by Schubert, Kurtág and Ligeti, alongside Colomina i Bosch’s new work and Platja i nit. Albà, the second piece from his piano cycle Imatges.

Written in 2026, Campanes al Vespre is shaped by Òscar’s long-standing fascination with the sound and symbolism of bells. Drawing on recurring gestures, the piece transforms bell-like resonances into a meditation on Madrid in the late winter evenings, when the city’s acoustic world takes on a particularly reflective quality.

Through resonance, register and carefully spaced chords, the piano writing creates a sound world that is at once tender, urgent and contemplative. The decay of sound becomes an expressive force in its own right, opening acoustic spaces for the listener to inhabit, connected by thresholds of dissolution and remembrance.

The work follows the tradition of intimate, evocative piano miniatures explored by Mediterranean composers such as Manuel Palau, Xavier Montsalvatge and, particularly, Frederic Mompou, where spacing, silence and poetic gesture create, with great economy, a deep and rich emotional universe.

The recital will be preceded by a brief introduction by Luis Fernando Pérez and Márta Gulyás, artistic co-directors of the Encuentro, together with Òscar. They will present the figure of György Kurtág and discuss his connection with the other composers featured in the programme.

More information:
Centro Botín
https://www.centrobotin.org/actividad/encuentro-musica-y-academia-homenaje-a-gyorgy-kurtag-en-su-100-o-cumpleanos/

His yearly lecture, From Analysis to Interpretation, will focus on Brahms’s Intermezzo Op. 118 No. 2

---

Òscar returns to Porto Pianofest in August 2026, marking his tenth consecutive appearance at the festival as member of the artist faculty.

His conference, From Analysis to Interpretation, will take place on Sunday 9th of August at 11:00, at the Conservatório de Música do Porto, as part of Porto Pianofest’s 2026 programme of conferences and masterclasses.

This year’s lecture will focus on Brahms’s Intermezzo in A major, Op. 118 No. 2, one of the composer’s most intimate late piano works. Through a close reading of the piece, Òscar will explore how musical analysis can become an active tool for interpretation: not as a theoretical exercise, but as a way of deepening phrasing, colour, timing, structure and as a tool to discover individual expressive intention in performance.

Òscar’s long-standing relationship with Porto Pianofest has developed over the past decade through public lectures, analysis sessions, teaching young pianists and contributions to the festival’s pedagogical environment.

His annual presence at the festival reflects a continued commitment to the dialogue between composition, interpretation and artistic imagination.

More information:
Porto Pianofest 2026 Events
https://www.portopianofest.com/en/2026-events

Òscar’s iconic work continues to enjoy a growing performing life

---

Òscar Colomina i Bosch’s Shpigl for solo violin has received two recent performances in Madrid and Bern, further consolidating the continuing life of the work within the repertoire of young international violinists.

On Monday 1 June 2026, violinist Eduard Kollert performed Shpigl at the Sony Auditorium in Madrid, as part of an academic concert of the Violin Chair of Professor Zakhar Bron at the Escuela Superior de Música Reina Sofía.

The work will also be performed by Hyeonyeong Jang on 11 June 2026 at 18:00 at the Hochschule der Künste Bern, continuing the relationship between the piece and a new generation of performers working in leading European music institutions.

Commissioned by the Yehudi Menuhin International Violin Competition, with support from the Britten-Pears Foundation, Shpigl was written for the Junior Finals of the 2016 competition and premiered at Duke’s Hall, Royal Academy of Music, London. Its title means “mirror” in Yiddish, and the work takes as its point of departure Yehudi Menuhin’s idea of life as a journey of search and transformation.

The piece explores this idea through veiled memories of the violin repertoire, elements of improvisation and the theatrical use of space, requiring the performer to shape not only the musical material but also the physical journey of the performance.

Since its premiere, Shpigl has developed a significant performing history. After being heard at the Menuhin Competition, it was described by John Adams as “a small masterpiece of both musical and dramatic imagination” and was later programmed by Adams in the Los Angeles Philharmonic’s Green Umbrella / Noon to Midnight festival at Walt Disney Concert Hall. Subsequent performances by young violinists in the United Kingdom, Portugal, Austria, Spain and Switzerland underline the work’s continuing presence as a distinctive contribution to the contemporary solo violin repertoire.

.

‘Havasu Falls’ will premiere during the OEX 2026-27 season, completing the triptych Myths for orchestra.

---

The Orquesta de Extremadura has announced the commission and forthcoming world premiere of Havasu Falls, a new orchestral work by Òscar, as part of its 2026-27 season.

Presented under the title Relatos, the new season of the OEX, directed artistically by Roberto Forés Veses, is conceived around the narrative power of music: stories of love and enchantment, fairy tales, journeys, ancient fables and mythical heroes. Within this framework, Havasu Falls will form part of the orchestra’s main symphonic programme and will receive its estreno absoluto during the season.

“The world premiere of Havasu Falls by Óscar Colomina stands out in the main season programme of the orchestra— a piece which will complete his symphonic triptych Myths for orchestra.” — Melómano Digital

Havasu Falls is the third and closing panel of Òscar’s orchestral triptych Myths for orchestra, a cycle in which water appears as a liminal space between life and death, memory and transformation. The cycle began with The Styx, premiered by the Orquestra de València under Baldur Brönnimann at Festival ENSEMS in 2024, and continued with Wells of Oblivion, commissioned and premiered by the Orquesta Sinfónica de Tenerife under Ariane Matiakh in April 2026 (links to recordings to both works below).

With Havasu Falls, the cycle moves from the mythological river and the well of forgetfulness towards the image of the waterfall as a living landscape of continuity, ancestry and renewal.

Read more here: Myths for Orchestra.

Press coverage of the OEX 2026-27 season launch:

Docenotas
https://www.docenotas.com/185010/la-orquesta-de-extremadura-presenta-su-temporada-2026-2027/

Scherzo
https://scherzo.es/la-orquesta-de-extremadura-presenta-su-temporada-2026-2027/

Toda la Música
https://www.todalamusica.es/la-orquesta-de-extremadura-presenta-relatos-su-temporada-2026-2027/

Melómano Digital
https://www.melomanodigital.com/una-temporada-llena-de-relatos-para-la-oex/

.

.

The piano trio works were performed at Sala Piatti as part of ACHROME Ensemble’s season

---

On 9 May 2026, ACHROME Ensemble gave the Italian premiere of two pieces from Òscar Colomina i Bosch’s Nocturnes for piano trio at Sala Alfredo Piatti in Bergamo.

The performance took place as part of the tenth edition of ACHROME Ensemble’s contemporary music season “…e adesso musica!”, in a programme titled “Sguardi oltre confine”, dedicated to music looking beyond national and aesthetic borders.

The concert included Rotten Wood and Damaged Iron and Crime, two movements from Colomina’s cycle Nocturnes for piano trio. Written for violin, cello and piano, the works explore a nocturnal world of memory, tension and psychological unease, combining sharply etched instrumental gestures with an atmosphere of fragile lyricism and latent drama.

The programme also included works by Oliver Iredale Searle, Pieralberto Cattaneo, Paolo Coggiola and James Turlow, reflecting ACHROME Ensemble’s continuing commitment to contemporary chamber music and to dialogue between different European musical voices.