ADDA·SIMFÒNICA / SPANISH BRASS / BOMBA PUERTORRIQUEÑA / DAVID MOLINER / JOSEP VICENT / ENSEMS 44
16 September, 2022 / 20:00h. Price: Free
Spanish Brass, quinteto de metales:
Carlos Beneto, trumpet
Juanjo Serna, trumpet
Manolo Pérez, horn
Indalecio Bonet, trombone
Sergio Finca, tuba
David Miller, percussion
Bomba puertorriqueña: Marina Molina, Daniela Torres, Ambar Rosado
Josep Vicente, principal conductor
16/09/2022 20:00h Auditori de la Diputació d’Alacant, ADDA
18/09/2022 12:00h Auditori del Palau de les Arts
Yannis Xenakis, Metastaseis – 08:00
J. Peña Aguayo, Mosaicos de Arena Errante (World Premiere) – 20:00
Brass Quintet, Puerto Rican Bomba Group and orchestra
Pause – 15:00
David Moliner, Figuratio I. Mein Logos! – 12:00
Óscar Navarro, Alí y Cántara, Symphonic Poem (world premiere)– 24:00
(Brăila, Rumanía, 1922 – París, 2001)
Composed during 1953 and 1954 and first performed at the 1955 Donaueschingen Festival under Hans Rosbaud, Xenakis translated Metastaseis as “dialectical transformations”. Transformed musical structures and parameters which were a constant focus in his compositions.
In Metastasis, Xenakis applied some of the geometric progressions of Le Corbusier’s Modulor to the organization of interval structures and the duration of dynamics and timbres. He also sketched the string glissandos on an architectural chart, with pitch on the y-axis and time on the x-axis. (The shapes of these graphed glissandos—hyperbolic paraboloids—influenced his design for the Philips Pavilion and Le Corbusier/Varèse Poème électronique a few years later.)
Metastasis begins with the strings and each part of the string is individually notated in unison on a natural soft G. One by one, the strings glide in carefully crafted glissandos, quickly building into a mass of furious buzzing, with extreme alternations of dynamics and timbre. Winds and percussion stir the waters, particularly in the second half of the work, but this is certainly string-centric music. The close features massive glissandos before settling into a unison drone of G sharp, fading from fff to dpi.
J.J. Peña Aguayo
(San Juan, Puerto Rico, 1973)
Mosaicos de Arena Errante (world premiere)
“Neo-African sounds in the new music of the Caribbean”
Premiere work for solo brass quintet, Puerto Rican bomba group and orchestra, with choreography by Isadora López Pagán and the participation of Spanish Brass and Mancha’e Plátano.
Mosaicos de Arena Errante has in the forefront of expression merging the sounds and rituals of the Puerto Rican bomba – an interdisciplinary genre from Puerto Rico with notable African influence that arises from the free and slave black communities of colonial times – to the symphonic world, achieving the multifaceted experience of timbre avant-garde, improvisation and unique interactions with dance and stage movement.
It is inspired by a scene from the audiovisual production Nenén de la Ruta Mora (1955), a film by the Division for Community Education (DIVEDCO) of the Department of Public Instruction of the Commonwealth of Puerto Rico. In the film, little Nenén – touring the town of Loíza together with an imaginary character at the Santiago Apóstol festivities – encounters a bomba dance on the sand paths of the Las Carreras neighborhood. In this scene in which the character who wears an attire and mask as a chaser chases the child through various scenes of the festivities, the wandering sand can be seen in the particular tradition of the barefoot bomba dance and the free participation of the public. The scene exudes homage to resistance, from the humble levels of society, to colonizations of race, spaces and spiritual beliefs. This neighborhood still has today, before the development of pavements and buildings, sand on its ground. A metaphorical colonization in reverse of the haloes of civilized art by the collective memory of humble souls in conversation between generations.
Figuratio I. Mein logos
Written in 2018, this concerto for percussion and orchestra is based, according to David Moliner himself, on “a direct premise: the line as the motor element of a musical discourse; the line in all its aspects, horizontality, cyclical permutation, semi-vertical development and tempered oscillations. The logical part of the linear interaction, that is, the logos, is the key element of the artistic conception of the work, which derives in emotional states, including aspects such as whistles, bells, whispers or foot tapping”. The composer, who will act as percussion soloist, adds regarding the interpretation of the piece: “The concert nomenclature is written not with a classical idea of a concert but as a living organism in which all the instruments are ‘contaminated’ by the language percussive”.
(Novelda, Alicante, 1981)
Alí y Cántara, Symphonic Poem (world premiere)
Centuries ago, in the city where Alicante stands today, a Caliph lived with his family. Of all her children, she was famous for the extraordinary beauty of her the princess Cántara, who did not lack suitors. The fight between them gave rise to the name of Alicante.
And it was two young people who would dispute for the love of the princess: Almanzor and Ali. Princess Cántara did not know which one to choose, since both were attractive and gentle. Then the Caliph, her father, had an idea, and evoking the 12 tests of Hercules, he asked them to carry out a complicated task, the first one to finish it being chosen as the husband for the Muslim princess.
Here then are the tasks entrusted: Almanzor had to travel to India to bring spices and silks to the princess and Ali undertook to make a ditch from which the water to supply the city would be drawn.
While Almanzor headed for India, Ali began his task; and being so close to Cántara he did not hesitate to court her. The young man wrote to him, sang or recited poems. That was how the princess fell madly in love with him. Cántara did not need the young people to finish the tasks: her heart had already chosen, and she wanted to marry Ali.
After time Almanzor returned from India with the task completed, unaware of the love between the princess and her rival. The caliph, who was a just man, seeing that Almanzor had completed the task, gave him the hand of Cántara.
When Ali found out, he threw himself into a broken ravine in pain at the point that today is known as the Tibi Dam. And it happened that where her body fell, the ground opened up and water gushed out. When Cántara learned of her misfortune, she also threw herself into the void in the Sierra de San Julián. Since then the place is called ‘the precipice of Salto de la Mora’. With the loss of the princess, the Caliph fell into a deep depression. And he finally decided to jump into the abyss from the top of his castle.
The inhabitants were dismayed by what had happened and decided to change the name of the city to “Alcántara”, so that the name of the lovers, Ali and Cántara, would remain eternally united. Over the years that name became Alicante, the name by which we know the city today.