Title of the work: Esferal
Orchestration: 188.8.131.52. - 184.108.40.206. - Pf. - Ar. - 3 Perc. - Str.
Composer: Javier Torres Maldonado.
Duration: 11' ca.
Publisher: Edizioni Suvini Zerboni - Milano (for more information please send an e-mail to my publisher).
Dedicatee: Nadir Vassena.
Prize: Da Capo, Brandenburg Biennale 2012.
Work commissioned by the Biennale of Venice.
World premiere (1st version): Venice, Biennale Musica, La Fenice Opera Theater, 4.10.2006 - Symphony Orchestra of La Fenice Opera Theater, cond. Peter Hirsch.
Score (only with authorization.)
At the Teatro La Fenice, on October 4, various instrumentalists from the opera house, conducted by Peter Hirsch, will give the first performance of Esferal for six orchestral groups and electronics, commissioned by the Biennale and the Fondo Nacional para la Cultura y las Artes of Mexico.
The composer speaks of the work as follows: “Unlike other pieces, such as Exabrupto or Reflejo Espiral, the structure of Esferal is not based on the organization of the flow of the speed of metronomic pulsation, but rather on the idea of building a concentric structure where the metronomic pulsation is the nucleus of reference; this gives rise to a combination of several virtual models of acceleration or deceleration of the tempo of the musical objects. The title alludes to this basic idea, which is similar to the concept of the “celestial sphere” that proposes an ideal sphere, concentric with that of the earth, where the astral bodies apparently move.
On this basis, the superimposition of the various models of tempo variation tries in reality to describe a hypersphere made up of circles that may grow or diminish, depending on the position from which you are looking at a given moment, and on the temporal dimension perceived. In addition to the division of the orchestra into six groups or regions, the organisation of the acoustic space shows an evident wish to create stereophonic effects by spatially opposing pairs of similar instruments, while the use of electronics, as well as accentuating the spatial play of sound, also offers highly elaborate dialogues, transformations and transitions between one sonority and another”.
The monographic CD Exabrupto, published by Stradivarius, will be presented by the composer in a seminar in Mexico City during the Festival “Mexico, puerta de las America”. On June 3 and 4 in the same city, and during the same festival, the Nezahualcóyotl concert hall of the University Cultural Centre will be the venue for the first performance in Mexico of Obscuro etiantum lumine for violin and three orchestral groups. It will be played by Carlo Chiarappa, to whom the work is dedicated, and the Philharmonic Orchestra of the National University of Mexico, conducted by José Guadalupe Flores. The concert will be broadcast live on Radio UNAM.
Reflejo Espirral, flute in G and percussion was performed by the ensemble Kunstellaire on April 27 in Paris in the Chapelle Saint Bernard, with the flautist Mayu Sato-Brémaud and the percussionist Brenda Ohana. On June 10 in the Gallery of Contemporary Art of the Peon Contrera Theatre in Merida, Mexico, there will be a performance of Invención for solo violin, played by Ludwig Carrasco, while on the following day, June 11, the Festival International Synthèse in Bourges will include, at the Théâtre Jacques Cur, the electroacoustic composition Fontane.
Finally, the Festival Milano Musica will pay a special tribute to the composer: Torres Maldonado will conduct the Dynamis Ensemble in a concert that will present a dialogue between Spanish and Mexican music of the 19th and 20th centuries, including pieces by Silvestre Revueltas, Luis de Pablo and Manuel de Falla. The concert will also feature three works by Torres Maldonado: De Ignoto Cantu for ensemble and electronics, Orior for piano and The Unexpected Clock in the Mirrors for violin, bass clarinet and ensemble, played by Carlo Chiarappa and Armand Angster.