contact: contacte@gotic-band.cat
La noia que tenia els ulls verds de tant mirar el mar (“Gotic II - The 1978 unreleased LP”)
AGUSTÍ BRUGADA - Flute
My journey with Gòtic
I remember the first day in that place near Lesseps square in Barcelona, where the group was rehearsing, I did a little test of improvisation in different styles. I was surprised by the loudness of the speakers; I was used to playing with no amplification and that “scandal” was a novelty. They usually played louder but in order to get me more comfortable and in may case, coming from "classical music“ the played softer, so I won’t get scared the first day!!.
Gòtic was a group of highly trained musicians. They already had a long history. The tunes were musically elaborated and technically complicated, demanding; they search the good taste, quality, and jazzy improvisation was neglected. Sometimes you go crazy to absorb some extreme rhythmic amalgams. I was aware, perhaps for the first time, that my classical training was an advantage that allowed me to play without glitches a different type of music. Good music after all, it make no sense trying to compare with my previous experiences.
Everything has to be memorized. And the result was a well-wrapped and compact sound; permanent contact among us; open mind; great moments of artistic complicity. I remember studying alone at home with the intention to get an impression of naturalness that would make spontaneous sound, as if they were improvised. Over the years I have seen how difficult it is to surround yourself with the right people…
If any criticism (aesthetics) could do it would be that this was a kind of music addressed to musicians, full of winks and homages to our artistic references.
Another landmark to me was the experiences on a professional recording studio, Gema 1, which back then was a one of the best faciities in the catalan music world. It was difficult to overcome the stress of knowing that you could not go wrong, and if you did, the engineer had to cut a four-fingers-wide tape.
Performing at Canet Rock was perhaps the most significant moment. The sound in this big, open air field was not the best, to be honest, our show was not a long one, but getting that crowd in front, and Pau Riba nearby, disguised as sone kind of foolish guy… man, it was a dream for starting rock musician.
Listening Gotic II - The 1978 unreleased LP you can feel the freshness of musicians who were really young people (real teenagers!) and who believe totally in what they were doing. "You must believe in the story," he said, with his chilean-accent Nelson Muñoz, our manager at that time.
If any criticism (aesthetics) could do it would be that this was a kind of music addressed to musicians, full of winks and homages to our artistic references.
Another landmark to me was the experiences on a professional recording studio, Gema 1, which back then was a one of the best faciities in the catalan music world. It was difficult to overcome the stress of knowing that you could not go wrong, and if you did, the engineer had to cut a four-fingers-wide tape.
Performing at Canet Rock was perhaps the most significant moment. The sound in this big, open air field was not the best, to be honest, our show was not a long one, but getting that crowd in front, and Pau Riba nearby, disguised as sone kind of foolish guy… man, it was a dream for starting rock musician.
Listening Gotic II - The 1978 unreleased LP you can feel the freshness of musicians who were really young people (real teenagers!) and who believe totally in what they were doing. "You must believe in the story," he said, with his chilean-accent Nelson Muñoz, our manager at that time.
Agustí Brugada
(flutes)
Agustí: Mini bio
In 1979 he won the first prize at the Young Musicians Competition.
He formed classical duets with Jordi Vilaprinyó and Antoni-Olaf Sabater, and has been a member of the Flue’s Orchestra of Barcelona, playing at several concerts, including the Festival Grec in Barcelona.
He worked in various chamber ensembles and orchestras, especially in the OBC and the Vallès Symphony Orchestra.
He joined jazz and popular music bands and singers. The group Gòtic, Joan-Baptiste Humet, Jaume Arnella, Joan Albert Amargós.
He played in the music festival Canet Rock with Gòtic.
He played in musical theater at theCentre Dramatic de la Generaiitat of Catalonia, including "The Tempest" (N. Espert) "Peer Gynt" (with J. Puigcorbé)
In 1984 he won the contest to join the staff of the orchestra of the Gran Teatre del Liceu where he remained for 27 years.
Nowadays Agustí works at the School District and the Seafront School Music of Barcelona, where he teaches flute and chamber music.