Literary elements taken from Italo Calvino and Mahmoudan Hawad underlie Nuria Núñez’s Imágenes desde el desierto (2010). The piece is divided into seven sections that provide different views of the same expression of sound: from the initial fragility (sections I-III) to the concretion of “real” sounds (sections IV-V), returning to the original gesture (sections VI and VII) after this frenzy.
<p>Fran M. M. Cabeza de Vaca:<em>The tryst, </em>for violin, cello and piano</p>11:36JANUARY 8, 2014
Fran M. M. Cabeza de Vaca composed The Tryst in 2010. The works begins vigorously and violently, with various glissandi that take on thematic importance. The central section develops in an apparent stillness, characterised by unusual sonorities in all three instruments, which leads to the coda, in a scherzo-like nature and with a strong gestural component.
This video features the premiere of Aphasia by Celer Gutiérrez. The impossibility of communication, alluded to in the title, is the idea that generates the work. The continuous evolution of two networks of sound, that cover everything from harmonic to rhythmic and well-shaped to diffusive elements, and from compact blocks to disintegration, is indicative of the compositional style, consisting of an endless set of variations.
The subtitle of this work by José María Ciria, "per la metamorfosi d’Aletheia" ("for the transformation of the Truth") alludes to a conception of art as a "revelation of reality". The Romanic architecture that inspires the work is embodied in an irregular ostinato in the piano and in "rugged" sounds, evoking the stone element.
The aperiodic ordering of quasicrystals serves as a model for this second part in Julián Ávila’s Cuasicristal cycle. The cello and electro-acoustic sine waves trigger the sound activity, whose central section features rhythmic "quasi-regularities".
The beginning of Brahms’s Intermezzo Op. 118 no. 2 is the point of departure for Kaleidoskopik, which manipulates the original material throughout its four sections, offering different views of it. An updated version of Brahms’s motive is thus reflected in a piece alternating pointillistic techniques with lyricism, and whose technical procedures are inspired by a kaleidoscope.