Peregrí Portolés Chulvi





Peregrí Portolés Chulvi was born in Borriol - Castelló, Spain, in 1963. He studied music at the “Conservatorio Superior de Música de Valencia” with M. Rosa Gil. He is prize of honour in the elementary, middle and high grades. He was given a scholarship several times and he had the opportunity to expand his studies and receive advice from teachers and guitarists of recognition.

He performed his first concert at the age of eight and since then he performed concerts all over the country as well as on the radio and television, as a soloist and with different groups of musicians emphasizing the duos formed with Clara Llop, pianist, and Nèlia Sanxís, flautist. He was awarded in different national and international contest like: “II Concurs regional” in Vila-real, “V Certamen Nacional Manuel Palau” in Valencia, “IX I XI Certament Internacional Francisco Tárrega” in Benicasim. The yeard 1977 and 1979 he was the youngest finalist in the history of the contest “IV Mostra Juvenil per a solistes” in Barcelona, “III Concurs Nacional de joves interprets” in Saville, among others contests.

Since 1985 he is the guitar teacher of the “Conservatori Professional de Música de Tortosa”, and he is fully dedicated to the pedagogical task.

In the field of composition he is the composer of different works for solo guitar and for different instruments groups, as well as pedagogical studies. He has published musical works for: guitar; two and more guitars; flute, guitar and piano; guitar and string quartet; music trios; with the editorials “La mà de guido”, “Perifèria music”, “Chanterelle” and “Brotons & Mercadal”. With this last editorial he is publishing the collection of then volumes of the method “Escola de guitarra”.

Lastly, he has won the second prize in the composition competition “Internationaler Kompositionswettbewerb im Saarland 2010” in Germany, with the musical work for three guitars “Temps de juventut”, published by the editorial “Chanterelle”.



What does music mean to you personally?

For me, music means feelings, passions, sensations…, a universal way of expression.

Do you agree that music is all about fantasy?

I couldn’t agree more. We need to get carried away by the imagination and the fantasy.

If you were not a professional musician, what would you have been?

I don’t know, I can’t imagine it.

The classical music audience is getting old, are you worried about your future?

I’m worried about the young musicians’ future. I’m worried about the new talents whom will find a disappointing reality.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

Probably we are living a transformation. We have to be able to bring the classical music close to the society’s reality, the new technologies, the new tendencies and young people habits. If we don’t do it, then, the classical music will disappear as we know it.

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

I think that it’s totally fine that classical music broadens the way of transmitting to the public. I want to think about imaginative and creatives ways to make more attractive the staging.

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

It’s what I was saying before. Music has to be creative to not to be destined to a small public. The paper of the creativity is fundamental. We need to find new ways, among other things, of staging in front of a public.

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

We can and we must do it. We can’t lose the essence of classical music, we need to make more attractive the concert, the play.

Tell us about your creative process. Do you have your favorite piece (written by you) How did you start working on it?

I don’t have a favourite piece. I have a few that, for its meaning, they are more “importants” for me. I started by need: the need of express and explain moments, feelings.

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?

I think it’s perfect and a very appropriate way to expand the public and to present a concert much more attractive.

Can you give some advice for young people who want to discover classical music for themselves?

I think they don’t have to be afraid. They don’t have to think about the difficulty that they can have to understand it. They have to be carried away by what they hear and by the feelings that it transmit them.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?

Well, the business of consumption it’s what people do every day. Lots of the times we have to go into this way of business to let us know and to be accepted. In my case, i am worried about “selling” my product because my motivation isn’t this one. I have my job and the composition is added to it. For this reason, I’m not worried about this market.

Do you have expectations what regards your listeners, your audience?

I only hope I can continue composing in the way I like the most, with honesty and feelings. I value a lot and it satisfies me that my compositions can make the listener feel something.

What projects are coming up? Do you experiment in your projects?

I try to compose without pressure letting the feelings flow. As a great composer said: “my language is not based in any system. The sensibility is expression and the spirit controls. My latest compositions are challenges for me, they are an attempt to discover possibilities and the same time that I try to find my own language and style.