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Hemisferios artificiales

for flute, clarinet, percussions, piano, violin and cello

Title of the work:  Hemisferios artificiales.
Composer: Javier Torres Maldonado.
Year of composition: 2002.
 flute, clarinet, one percussonist, piano, violin and violoncello divided into two groups (A: flute, violin, cello and piano, B: clarinet and percussion).
Duration: 8 minutes.
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: 2002. 
Dedicatee: Lorraine Vaillancourt
First world performance: Strasbourg, Théâtre des Lisières, 2.2002 - Ens. du CNR de Strasbourg.
Score (only with authorizatin)

Hemisferios artificiales

program note

Dedicated to Lorraine Vaillancourt "Hemisferios artificiales" was conceived from the idea of assigning two different objects to each of the two "visible" subdivisions (or hemispheres) of the ensemble required in the score, as well as the exploration of different opposition possibilities, overlap, interaction, interconnection and reciprocal influence of the resulting "acoustic surfaces". Thus the ensemble has been divided into two groups corresponding to:

a) flute, violin, cello and piano

b) clarinet and percussion

However the reading key of this piece is in the term "artificial”, since in addition to the division of the aforementioned ensemble other subdivisions are used that constantly change their sphere of influence, as if it were a multiplicity of mobile hemispheres. The two main objects assigned to each of the groups have their own characteristics, either at the level of the sound that from the point of view of the musical dramaturgy; these characteristics are constantly reinterpreted and transformed throughout the score. The first object - assigned to the group "a" -, is constituted by a constant presence of four simple elements: attack, resonance, extinction, and pulverization of the sonority. The second entity - assigned to the group "b" - is characterized by a series of regular impulses within an irregular subdivision that generates an "artificial" pulsation and, in some moments, new "metronomic tempi". It is also characterized by a solistic presence of clarinet; all this converges in an expansion at the level of the register and also towards a variety of the instruments that the percussionist executes. The dialectic between the two basic figures establishes different and varied momentary relationships, as well as a constant presence of echoes of their transformations, determining the unforeseen changes of time and the multiplicity of perspectives that correspond to each of the six formal sections in which the work is divided.

Javier Torres Maldonado


Email: tmjavier[at]  

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