Title of the work: Móvil, cambiante.
Composer: Javier Torres Maldonado.
Instruments: Flute (also metal-chimes, see percussion instruments list and the different diagrams for the instruments position in the scene –next pages-), Clarinet in Bb (also bass-clarinet in Bb, written in actual pitch), Bassoon , Oboe (also English Horn , 1 player) , Violin I , Horn , Trumpet in C, Trombone (tenor-bass) , Piano (also celesta, triangle and bamboo-chimes), Percussion [1 player: 1 Timpano (32”) , Spring coil , Tibetan singing bowl, Thai gong or Javanese gong, bamboo-chimes, Vibrafono , Bass-drum, Violin II , Viola, Cello , Double-bass .
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: 2017.
Commission: Ernest von Siemens Music Foundation, Klangforum Wien and Festival Internacional Cervantino.
Dedicatee: Tito Ceccherini.
First world performance: 25.10.2017, Festival Internacional Cervantino, Teatro Juárez, Guanajuato (Mexico).
Score (75 MB, only with authorizatin)
Commissioned by the Festival Internacional Cervantino and by the Ensemble Klangforum in Vienna with funding from the Siemens Foundation, Móvil, cambiante is dedicated to Tito Ceccherini. The piece takes its starting point from an idea of contrast and complementarity between different "states" of a simple material (different verticalities derived from a symmetrical expansion of intervals of a third).The piece is divided into two formal blocks, irregular and divisible into smaller modules, deriving from different types of proportions, including the golden section.
The work presents various compositional processes in succession and sometimes overlapping in time, in which the degree of transformation and distancing from the original material provides the key to reading the whole composition. The title alludes not only to this idea but also to the use of spatial trajectories of sound objects that are static or in transformation: at some moments in the piece the musicians must move within the space as they play, progressively and consequently conquering different positions on the stage, which vary several times until the end of the piece. This spatial ductility allows the compositional processes to be associated with an idea of the verticality of time, which also allows their superimposition.
The function of the players in the Ensemble is therefore not traditional given that in some moments some of them can take on concertante roles associated with the trajectories they follow in space, or else play different instruments than their own (for example percussion instruments) since their trajectory may be conceived around these instruments or also converge into a movement towards another instrument. Among the solo roles that of the first violin and the oboe (also cor anglais) can be considered predominant, but in different moments other instruments assume this function.
—Javier Torres Maldonado, original text of presentation: Ensemble Klangforum's web site.
- Processi e traiettorie, ©Edizioni Suvini Zerboni, Milan, Esz News No. 52, 05/2010, page 6.
- Zeitgenössische Musik aus Österreich am Internationalen Festival Cervantino (Deutsch).
- Epílogo del Cervantino. Lo bueno, lo malo y…, por Nadia Be'er, revista "Nexos", sección "Cultura y vida cotidiana", 3.11.2017 (Español)
- Javier Torres Maldonado y el Klangforum Wien en el Cervantino, Música en México, octubre 24, 2017, (Español).
- Noche de música contemporánea en el Teatro Juárez de Guanajuato, Cartelera de Teatro, 29.10.2017 (Español).
- "Javier Torres Maldonado - Móvil, cambiante", Klangforum's website (German)