CONCERT NOTE
SPANISH
Liquid crystals (2011) nos conduce a otro medio, marcado por la circularidad y el movimiento ondular. Los cristales que habían roto en Broken mirrors se funden aquí, dando lugar a un sonido líquido, más ligado y maleable. No hay estancamientos ni paradas: la fluidez sonora impone que las ondas reverberen por el medio con levedad, carentes de barreras. Como en los restantes cuartetos, escuchamos repeticiones formales que generan árboles sonoros. Dichas arborescencias funcionan como ecos en nuestra percepción, sugiriendo pistas a seguir en los entramados de líneas y colores que Liquid crystals tiende. Al expandirse sobremanera los trazos armónicos, Fuentes se adentra en el sonido, habitándolo en detalle. Es un aspecto de su música que podemos enraizar en el espectralismo, si bien en sus cuartetos los parciales se desestabilizan por texturas irregulares y elementos de ruptura. Proliferan, de este modo, la microtonalidad para matizar las gradaciones cromáticas, los glissandi para estirar las frases, los arcos circulares para enlazar los entramados armónicos, el sul ponticello para reafirmar la evanescencia de las texturas, o los reguladores dinámicos para hacer del sonido una materia sinusoidal. Este universo líquido, que nace en el arco circular del violonchelo, desarrollando líneas tan flexibles y diversas, converge progresivamente en un final antitético, cristalizado de nuevo. Lo hace de un modo áspero, con una presión de arco seca, hasta que el cuarteto se frena en un rallentando que culminan primer violín y violonchelo, solidificando las cuerdas. Paco Yañez
ENGLISH
Liquid crystals (2011) leads us to another medium, marked by circularity and undulating movement. The crystals that had broken in Broken mirrors melt here, giving rise to a liquid sound, more bound and malleable. There are no stagnations or stops: the sonorous fluidity imposes that the waves reverberate through the medium with lightness, lacking barriers. As in the other quartets, we hear formal repetitions that generate sound trees. These arborescences work as echoes in our perception, suggesting clues to follow in the webs of lines and colors that Liquid crystals tends. As the harmonic traces expand greatly, Fuentes delves into the sound, inhabiting it in detail. It is an aspect of his music that can be rooted in spectralism, although in his quartets the partials are destabilized by irregular textures and elements of rupture. Thus, microtonality proliferates to nuance the chromatic gradations, the glissandi to stretch the phrases, the circular arcs to link the harmonic frameworks, the sul ponticello to reaffirm the evanescence of the textures, or the dynamic regulators to make the sound a sinusoidal matter. This liquid universe, which is born in the circular arc of the cello, developing lines so flexible and diverse, converges progressively in an antithetical end, crystallized again. It does it in a rough way, with a dry bow pressure, until the quartet slows down in a rallentando that culminates in first violin and cello, solidifying the strings. Pago Yañez
Liquid crystals (2011) nos conduce a otro medio, marcado por la circularidad y el movimiento ondular. Los cristales que habían roto en Broken mirrors se funden aquí, dando lugar a un sonido líquido, más ligado y maleable. No hay estancamientos ni paradas: la fluidez sonora impone que las ondas reverberen por el medio con levedad, carentes de barreras. Como en los restantes cuartetos, escuchamos repeticiones formales que generan árboles sonoros. Dichas arborescencias funcionan como ecos en nuestra percepción, sugiriendo pistas a seguir en los entramados de líneas y colores que Liquid crystals tiende. Al expandirse sobremanera los trazos armónicos, Fuentes se adentra en el sonido, habitándolo en detalle. Es un aspecto de su música que podemos enraizar en el espectralismo, si bien en sus cuartetos los parciales se desestabilizan por texturas irregulares y elementos de ruptura. Proliferan, de este modo, la microtonalidad para matizar las gradaciones cromáticas, los glissandi para estirar las frases, los arcos circulares para enlazar los entramados armónicos, el sul ponticello para reafirmar la evanescencia de las texturas, o los reguladores dinámicos para hacer del sonido una materia sinusoidal. Este universo líquido, que nace en el arco circular del violonchelo, desarrollando líneas tan flexibles y diversas, converge progresivamente en un final antitético, cristalizado de nuevo. Lo hace de un modo áspero, con una presión de arco seca, hasta que el cuarteto se frena en un rallentando que culminan primer violín y violonchelo, solidificando las cuerdas. Paco Yañez
ENGLISH
Liquid crystals (2011) leads us to another medium, marked by circularity and undulating movement. The crystals that had broken in Broken mirrors melt here, giving rise to a liquid sound, more bound and malleable. There are no stagnations or stops: the sonorous fluidity imposes that the waves reverberate through the medium with lightness, lacking barriers. As in the other quartets, we hear formal repetitions that generate sound trees. These arborescences work as echoes in our perception, suggesting clues to follow in the webs of lines and colors that Liquid crystals tends. As the harmonic traces expand greatly, Fuentes delves into the sound, inhabiting it in detail. It is an aspect of his music that can be rooted in spectralism, although in his quartets the partials are destabilized by irregular textures and elements of rupture. Thus, microtonality proliferates to nuance the chromatic gradations, the glissandi to stretch the phrases, the circular arcs to link the harmonic frameworks, the sul ponticello to reaffirm the evanescence of the textures, or the dynamic regulators to make the sound a sinusoidal matter. This liquid universe, which is born in the circular arc of the cello, developing lines so flexible and diverse, converges progressively in an antithetical end, crystallized again. It does it in a rough way, with a dry bow pressure, until the quartet slows down in a rallentando that culminates in first violin and cello, solidifying the strings. Pago Yañez
AUDIO SPOTIFY |
GALLERY |
BUY A SCORE
Do you want to buy a score? You have two possibilities to pay:
1) Add to Cart: you will be directed to the PayPal site, you can pay with your credit card, and you will receive an invoice and a link to make a PDF download of the work.
IMPORTANT: it is better to download from a laptop computer. Some problems have been reported with downloading using mobile phones.
If you don't have access to a laptop, don't worry, write to us and we will help you with the purchase process.
2) Payment by wire transfer: If you can't buy the piece through PayPal, you can make a bank transfer to the following account. Send us an email with your transfer information and we will contact you.
Arturo Fuentes Avila
Hypo Tirol Bank
IBAN: AT17 5700 0300 5557 5425
BIC/SWIFT: HYPTAT22
Innsbruck, Austria
PRINTED SCORES :
If you want a printed score or individual parts of an orchestral work, no problem. Write to us directly telling us the piece you want to buy and we will send you a link so you can make the purchase directly on our website. You can make the payment by PayPal or by bank transfer and you will receive an invoice automatically in your email. The prices already include shipping to any country in the European Union.
[email protected]
Thank you for your purchase!
LondonHall Editions Team
LondonHall Editions / Arturo Fuentes
Tax Nr. ATU67278215
Bildgasse 2
6020, Innsbruck
Austria
Do you want to buy a score? You have two possibilities to pay:
1) Add to Cart: you will be directed to the PayPal site, you can pay with your credit card, and you will receive an invoice and a link to make a PDF download of the work.
IMPORTANT: it is better to download from a laptop computer. Some problems have been reported with downloading using mobile phones.
If you don't have access to a laptop, don't worry, write to us and we will help you with the purchase process.
2) Payment by wire transfer: If you can't buy the piece through PayPal, you can make a bank transfer to the following account. Send us an email with your transfer information and we will contact you.
Arturo Fuentes Avila
Hypo Tirol Bank
IBAN: AT17 5700 0300 5557 5425
BIC/SWIFT: HYPTAT22
Innsbruck, Austria
PRINTED SCORES :
If you want a printed score or individual parts of an orchestral work, no problem. Write to us directly telling us the piece you want to buy and we will send you a link so you can make the purchase directly on our website. You can make the payment by PayPal or by bank transfer and you will receive an invoice automatically in your email. The prices already include shipping to any country in the European Union.
[email protected]
Thank you for your purchase!
LondonHall Editions Team
LondonHall Editions / Arturo Fuentes
Tax Nr. ATU67278215
Bildgasse 2
6020, Innsbruck
Austria