Disparate femenino -piano- (PDF)
SKU:
€9.00
€9.00
per item
- You are buying: 1 score (10 pages)
- Instrumentation: piano and soundtrack
- Composition year: 2020
- Duration: 8:00 min.
- Score format: score A4 portrait
- 5 pages music
- send an email to londonhalleditions@gmail.com for technical list and soundtrack file
CONCERT NOTE
SPANISH download
New Jersey, 1920. El pianista Alfred Cortot graba en los estudios de la Viktor Talking Machine Company la primera versión acústica de los Jeux d’eau (1901) de Ravel. Cien años después, Fuentes rinde homenaje a un autor y a una obra que forman parte de su imaginario musical y nos introduce, casi a modo de confesión, en un mundo inspirado por los sonidos musicales de fuentes, cascadas y riachuelos.
Ravel en sus Jeux experimenta con ciertos aspectos novedosos del lenguaje musical, de la misma manera en la que Fuentes dibuja su propio microcosmos sonoro del recuerdo en una serie de efectos tímbricos que conforman un todo pictórico y original. Esa memoria atávica del agua que persiste en las entrañas del compositor se incorpora a la obra pianística mediante una escritura casi Lisztiana, reviviendo el virtuosismo romántico y abriendo nuevos horizontes pianísticos en su escritura: texturas iridiscentes, espacios de sonido amplios y compactos y figuras de acompañamiento novedosas que se convierten en el material musical con el que el compositor aterriza ya de pleno en esta nueva etapa de experimentación sonora.
Fuentes ya trabajó previamente en colaboración con el pianista Alberto Rosado en la obra Disparate Volante, basada en la serie de grabados Disparates de Goya. En este, su segundo Disparate, el compositor muestra más que nunca, ciertos matices biográficos presentes en su narrativa, tales como una armonía colorista y un ritmo en perpetuum mobile que genera un movimiento infinito y laberíntico, ambos matices inherentes a su lenguaje.
La música vibra en la memoria del autor en este Disparate Femenino insuflado de poesía líquida y de estructura atemporal, así como el espíritu de otra época sobrevuela la interpretación, brindándonos ocho minutos de performance en los que pasado y presente se confabulan creando un espacio líquido. Ya no lineal e irreparable, sino fluido y único. Ancestral.
María Abad
ENGLISH
New Jersey, 1920. The pianist Alfred Cortot records the first acoustic version of Ravel's Jeux d'eau (1901) in the studios of the Viktor Talking Machine Company. One hundred years later, Fuentes pays tribute to a composer and a work that form part of his musical imagination and introduces us, almost by way of confession, into a world inspired by the musical sounds of fountains, waterfalls and streams.
Ravel in his Jeux experiments with certain novel aspects of musical language, in the same way that Fuentes draws his own sonorous microcosm of memory in a series of timbral effects that form a pictorial and original whole. That atavistic memory of water that persists in the composer's entrails is incorporated into the piano work through an almost Lisztian writing, reviving the romantic virtuosity and opening new pianistic horizons in his writing: iridescent textures, wide and compact sound spaces and novel accompaniment figures that become the musical material with which the composer lands fully in this new stage of sonorous experimentation.
Fuentes had previously worked in collaboration with the pianist Alberto Rosado in the work Disparate Volante, based on Goya's series of engravings Disparates. In this, his second Disparate, the composer shows more than ever, certain biographical nuances present in his narrative, such as a colourful harmony and a rhythm in perpetuum mobile that generates an infinite and labyrinthine movement, both nuances inherent to his language.
The music vibrates in the author's memory in this Disparate Femenino, infused with liquid poetry and a timeless structure, just as the spirit of another era flies over the performance, offering us eight minutes of performance in which past and present collude to create a liquid space. No longer linear and irreparable, but fluid and unique. Ancestral.
María Abad
New Jersey, 1920. El pianista Alfred Cortot graba en los estudios de la Viktor Talking Machine Company la primera versión acústica de los Jeux d’eau (1901) de Ravel. Cien años después, Fuentes rinde homenaje a un autor y a una obra que forman parte de su imaginario musical y nos introduce, casi a modo de confesión, en un mundo inspirado por los sonidos musicales de fuentes, cascadas y riachuelos.
Ravel en sus Jeux experimenta con ciertos aspectos novedosos del lenguaje musical, de la misma manera en la que Fuentes dibuja su propio microcosmos sonoro del recuerdo en una serie de efectos tímbricos que conforman un todo pictórico y original. Esa memoria atávica del agua que persiste en las entrañas del compositor se incorpora a la obra pianística mediante una escritura casi Lisztiana, reviviendo el virtuosismo romántico y abriendo nuevos horizontes pianísticos en su escritura: texturas iridiscentes, espacios de sonido amplios y compactos y figuras de acompañamiento novedosas que se convierten en el material musical con el que el compositor aterriza ya de pleno en esta nueva etapa de experimentación sonora.
Fuentes ya trabajó previamente en colaboración con el pianista Alberto Rosado en la obra Disparate Volante, basada en la serie de grabados Disparates de Goya. En este, su segundo Disparate, el compositor muestra más que nunca, ciertos matices biográficos presentes en su narrativa, tales como una armonía colorista y un ritmo en perpetuum mobile que genera un movimiento infinito y laberíntico, ambos matices inherentes a su lenguaje.
La música vibra en la memoria del autor en este Disparate Femenino insuflado de poesía líquida y de estructura atemporal, así como el espíritu de otra época sobrevuela la interpretación, brindándonos ocho minutos de performance en los que pasado y presente se confabulan creando un espacio líquido. Ya no lineal e irreparable, sino fluido y único. Ancestral.
María Abad
ENGLISH
New Jersey, 1920. The pianist Alfred Cortot records the first acoustic version of Ravel's Jeux d'eau (1901) in the studios of the Viktor Talking Machine Company. One hundred years later, Fuentes pays tribute to a composer and a work that form part of his musical imagination and introduces us, almost by way of confession, into a world inspired by the musical sounds of fountains, waterfalls and streams.
Ravel in his Jeux experiments with certain novel aspects of musical language, in the same way that Fuentes draws his own sonorous microcosm of memory in a series of timbral effects that form a pictorial and original whole. That atavistic memory of water that persists in the composer's entrails is incorporated into the piano work through an almost Lisztian writing, reviving the romantic virtuosity and opening new pianistic horizons in his writing: iridescent textures, wide and compact sound spaces and novel accompaniment figures that become the musical material with which the composer lands fully in this new stage of sonorous experimentation.
Fuentes had previously worked in collaboration with the pianist Alberto Rosado in the work Disparate Volante, based on Goya's series of engravings Disparates. In this, his second Disparate, the composer shows more than ever, certain biographical nuances present in his narrative, such as a colourful harmony and a rhythm in perpetuum mobile that generates an infinite and labyrinthine movement, both nuances inherent to his language.
The music vibrates in the author's memory in this Disparate Femenino, infused with liquid poetry and a timeless structure, just as the spirit of another era flies over the performance, offering us eight minutes of performance in which past and present collude to create a liquid space. No longer linear and irreparable, but fluid and unique. Ancestral.
María Abad
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BUY THE SCORE
Do you want to buy a score? You have two possibilities to pay:
1) "Add to Cart" : you will be directed to PayPal, there you can pay with your credit card.
A code will be sent to your email in order to download a PDF document-score.
IMPORTANT : It is preferible to make the download with a laptop computer, we have had some issues with downloads using mobile phones.
In case you haven't access to a computer, no problem, buy the score and, if you have any issue, send us an email.
2) Money transfer :
Arturo Fuentes Ávila
Hypo Tirol Bank
IBAN: AT17 5700 0300 5557 5425
BIC/SWIFT: HYPTAT22
Address: Meraner Str. 8, 6020 Innsbruck. Austria
3) Printed scores:
If you wish a printed score, no problem, please write us an email and we will contact you.
londonhalleditions@gmail.com
Thank you for your purchase!
LondonHall Editions Team
1) "Add to Cart" : you will be directed to PayPal, there you can pay with your credit card.
A code will be sent to your email in order to download a PDF document-score.
IMPORTANT : It is preferible to make the download with a laptop computer, we have had some issues with downloads using mobile phones.
In case you haven't access to a computer, no problem, buy the score and, if you have any issue, send us an email.
2) Money transfer :
Arturo Fuentes Ávila
Hypo Tirol Bank
IBAN: AT17 5700 0300 5557 5425
BIC/SWIFT: HYPTAT22
Address: Meraner Str. 8, 6020 Innsbruck. Austria
3) Printed scores:
If you wish a printed score, no problem, please write us an email and we will contact you.
londonhalleditions@gmail.com
Thank you for your purchase!
LondonHall Editions Team