Title of the work: El suspiro del ángel.
Composer: Javier Torres Maldonado.
Year of composition: 2006.
Instruments: for 3 instrumental groups and electro-acoustic support -4 channels-. Instruments of the ensemble: Group I: Ob., Fl., Tr., Pf., 2 V. - Group II: 2 Clb., Trbn. - Group III: Bssn., Cr., Perc., Va., Vc., Cb.
Publisher: Edizioni Suvini Zerboni - Milano (for a free copy of the score please contact me or send an e-mail to my publisher).
Year of composition: 2006.
First world performance: Montréal, Canada, Salle Claude Champagne, 29.11.2006 - Nouvel Ensemble Moderne, cond. L. Vaillancourt.
Commission: Nouvel Ensemble Moderne and by the National Endowment for Culture and Arts of Mexico (Sistema Nacional de Creadores de Arte.
Score (only with authorizatin)
On November 29 (2006) the Salle Claude Champagne in Montréal will host the first performance of El suspiro del Angel, for three instrumental groups and four-channel digital support, played by the Nouvel Ensemble Moderne under Lorraine Vaillancourt. Torres Maldonado speaks of the work in these terms: “Sometimes the birth of a musical idea is not only a technical matter, but it may also be influenced by extramusical images; these often have a strong impact on the way the musical material is handled and, of course, on the composer’s actual imagination. Among the various extramusical ideas that recur in my music, there is one that has frequently returned and appeared for the first time in the IV movement of Luz for accordion and string quartet (2000) and is used again in Hacia el umbral del aire for accordion and electronics (2005): the sound stimulus is a noise that evokes the breathing of a sleeping angel, which represents the main source of inspiration for the music. El suspiro del Angel for three instrumental groups and four-channel digital support, reproposes this highly evocative image; the piece is built as a sequence of constant transitions and transformations of the idea, against which contrasting objects are occasionally alternated or superimposed. The use of electronics allows transitions or transformations in timbre between “breathing”, an aeolian sound played on the instruments, and “breathing” and various sounds that are “vocal” but never sung, appearing both in the instruments and the electronic part. All the transformations and transitions described cross the physical space in precise, different directions, and this spatialization is in fact one of the main structural elements of El suspiro del Angel, not only in the electronic part but also the instrumental. The ensemble of 15 players is divided into three groups, in a non traditional manner”.