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Number of videos: 7
  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    Francisco José Domínguez: Tres nocturnos
    10:20APRIL 4, 2018

    Trained at Musikene and the Kunstuniversität Graz, Francisco José Domínguez composed his Tres nocturnos (Three Nocturnes) for accordion in 2014. This work, a prizewinner at the Francisco Escudero International Composition Competition, is divided into three sections. The first is characterised by a rapid succession of notes that lead to a granulated texture. The second alternates this tension with more melodic segments, while the latter predominate in the third section of the piece.

  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    Francisco José Domínguez: Eco de las noches
    14:55APRIL 4, 2018

    Eco de las noches was premiered in San Sebastián in 2017 and reflects the composer’s present interest in the world of flamenco. The title alludes to the song La noche, by Estrella Morente, which appears in a distorted manner towards the middle of the piece. The diverse sound events −unified through the stamping of the feet in the woodwinds with which the work begins and which reappears throughout− recall the universe of Helmut Lachenmann and his “musique concrète instrumentale”.

  • Iñaki Alberdi
    Iñaki Alberdi
    Mikel Urquiza: Un lugar de Nueva Inglaterra en el que nunca he estado
    8:54APRIL 4, 2018Un lugar de Nueva Inglaterra en el que nunca he estado, a work premiered in this concert, is the first piece for microtonal accordion by Mikel Urkiza, who has composed various works for the chromatic accordion. The work’s title pays homage to Three Places in New England and to the Three Quarter-Tone Pieces for Two Pianos by Charles Ives, one of the pioneers of microtonal music. Here, Ives is interspersed with other suggestions of a dreamed-of and never visited New England, while in the distance the peal of a bell, the birds of the region and the buzzing of bees can be heard.
  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    Fabià Santcovsky: Veu i vol d'un ocell d'Arquitània
    7:31APRIL 4, 2018

    Fabià Santcovsky’s Veu i vol d'un ocell d'Arquitània, a work whose world premiere is captured in this video, is the result of the convergence of two lines of work that extend the accordion’s conventional technique. Its writing is based on microtonal melismas on the one hand, and the panoramic effect generated with the distance that exists between manuals and the spatial transition that occurs between the different tunings, on the other.

  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    Abel Paúl: Rastro y fantasma
    10:51APRIL 4, 2018In Abel Paúl’s Rastro y fantasma, a work whose world premiere is captured in this video, the sound of the accordion is combined with an electro-acoustic track of recorded voices and layers of latent sounds that form a dialogue not of contrast, but of blend. With soft dynamics, on the verge of silence, the composer explores the frontier of what is audible and, to this effect, presents new and imaginative technical resources.
  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    HueyChing Chong: Introspection
    10:02APRIL 4, 2018

    HueyChing Chong’s Introspection, a work whose world premiere is captured in this video, highlights the accordion’s many possibilities in terms of sound. Based on the idea that music is essentially energy, the composer explores the conventional limits of the instrument and redefines its use from a physiological perspective. This is shown, for example, by proposing the synchronisation of the performer’s breathing with the movements of the bellows.

  • Iñaki Alberdi, accordion
    Iñaki Alberdi, accordion
    Joan Magrané: Estramps i espars
    9:22APRIL 4, 2018The title Estramps i espars alludes to a type of lame and unrhymed verse characteristic of Medieval Catalan poetry, one of the aesthetic universes that inspires part of Joan Magrané’s musical creation. In particular, the composer juxtaposes fragmentary melodies with a beginning and no ending, toying with the listener’s expectations and breaking the work’s apparent and expected formal architecture.