Albert Gumí Steps Down as ONCA Artistic Director After Years of Leadership

Albert Gumí is stepping down as artistic director of the Orquestra Nacional Clàssica d'Andorra (ONCA) after several years in the role, with his final appearance in that capacity at the New Year's Concert on 1 January.

Gumí, who has led the orchestra since succeeding Gerard Claret, always wanted the position to go to an Andorran resident able to dedicate sufficient time to it. He suggested the change himself once a suitable local candidate emerged, and the ONCA board agreed, seeking ways to keep him involved musically. Joan Anton Rechi, described by Gumí as an excellent cultural manager with strong ideas, will take over the artistic direction.

The transition is not an endpoint for Gumí but a shift to focus on what he loves most: musical responsibilities. Both the board and Rechi want him to stay linked to the orchestra, and he plans to collaborate as needed.

This year's New Year's Concert, titled *París-Viena*, marks his farewell. Gumí described directing it as a moment of intense focus amid festive magic, without sentimentality clouding the performance. The programme contrasts refined 19th-century music from Paris—works by Bizet, Saint-Saëns, and Delibes—with Viennese pieces featuring the Strauss family and Von Suppé. "It's a musical journey offering varied emotions and contrasts," he said, promising a surprise while noting his tradition of contextualising pieces for audiences.

Reflecting on his tenure, Gumí highlighted rooting the ONCA in Andorra: partnering with local cultural groups, promoting national musicians, and building a classical repertoire. Upon arrival, little Andorran classical music existed; he contacted local composers, wrote pieces himself, recovered and adapted old works, and made them publicly available in ONCA archives. Highlights included cross-genre collaborations like a concert with death metal band Persefone, funk group Hysteriofunk, and Encamp's rock choir, plus Santa Cecília events engaging children with music tied to parishes—such as a suite he composed evoking local landmarks like Rossell's forge or Pessons lake.

Under production head Teresa Areny, efforts made concerts more accessible, fostering a deeper public connection to the orchestra as a national cultural asset. Gumí sees the future challenge as maintaining this identity while ensuring regular concert cycles and greater outreach—goals he believes Rechi can achieve.