These days have been really amazing! We had several rehearsals with all the instrumental groups of “They are not talking about us” and we are ready for the premiere.
Here I give you one of the pictures of the general rehearsal of today’s morning in Mozart Concert hall (main Zaragoza Auditorium) and as we say in my mother-language catalan: ¡Molta merda!
They are a part from Coro de Cámara del Csma (Chamber Choir of Superior Conservatory of Music or Aragón) and they will be singing They are not Talking about us the next 30th of November and 1st of December.
I have a very strong feeling with them; they are good friends of mine and I’ve been singing in this choir during my bachelor studies. Also, they premiered last April my piece “Aún dormimos. Diferencias sobre pasado y presente”. Even anyone of them is currently studying singing studies, Coro de Cámara has a very strong and pure sound and has participated in many recitals in Spain. Currently it is conducted by the spanish singer and choir conductor Elena Ruiz Ortega.
In my piece, the choir has many different roles. The only thing that happens in the whole piece is that que choir never sings understandable text. In the rehearsals, some listeners said that the choir is somehow the spine that makes all the colors of the wind orchestra and strings mix together.
(Coro de Cámara recording “O Magnum mysterium” by Tomás Luis de Victoria in Zaragoza, Luis Galve Concert hall)
He is Emilio Lledó Iñigo, the spanish writer and philosopher. I have the honor to say that my work “They are not talking about us” is based on some os his texts.
Emilio Lledó has recently been awarded with several prizes; I chose his texts before I knew he was such an important writer. Usually, when I work with text, I ask advice to my father; in this case, he recommended me Lledó’s articles. Finally, after conversations with don Emilio, I decided to make my own text with fragments of his articles.
In this case, his texts talk about different situations of communication, in a political and social context. How do we react to a lie, talking without a listener, the censure,…
“Cuando una sociedad acaba sin saber que está instalada en la mentira es una sociedad muerta”
(When a society doesn’t know it is based in a lie, this society is dead)
He is Miquel Rodrigo. He conducts the Wind orchestra of the Superior Conservatory of Music of Aragón. He commissioned this work last May and also he “allowed” me to change the instrumentation and write this piece for instrumental ensemble and voices.
Miquel Rodrigo is from Valencia and I know him due to he was my conducting teacher in Csma. I appreciate he is a very openminded person, who has nothing to do with aesthetic complexes. He usually conducts very different music -not only contemporary- so his gesture is very versatile too. He always commission several works to young composers -and some colleagues!
She is María de los Llanos and sings the Soprano solo part of “They are not talking about us”. I wrote the soloist part of this piece for her since the first minute.
The voice is absolutely the main topic in this piece, and so Soprano is clearly a main character. It was a really important subject for me to write piece for an instrumental ensemble and a soloist voice, although the soloist role is something that may seem “old-fashioned” in comparison with other new music for voice. That is because I believe this work needed to have a text -apparently more important- leading all the parts.
I am very lucky to say that a friend such as María de los Llanos will sing his part, which is really versatile and essential to “They are not talking about us”.
Come to see her laughing!
Today we have started “They are not talking about us” rehearsals, which premiere will be the 30th of November.
This piece is the biggest piece I ever composed. It is written for Wind orchestra, seven string players, choir and Soprano solo on a text by Emilio Lledó Iñigo.
It was a great pleasure to premiere “Never there. Talking to Macbeth” the last 10th of November in Pamplona with Colectivo E_7.2 crew. We had a very busy day but the final result worth it.
The recital was all around Gayarre Theatre but not in the usual stage of a theatre. It began in the principal hall and happened around the whole rooms, corridors and stairs of the building. In addition, there were, apart from premieres and live performances, sound actions and installations.
My piece was placed in a corner of the second floor of the theatre, next to a sound installation by Mikel Arze (Ikersoniua). It was played together with a live-working video by Leandro Suarez and the scenography by Pablo Ramos.
I am very happy with the performance and glad after meeting Colectivo E_7.2 crew. I must thank Juan José Eslava (composer and manager of E_7.2) for this opportunity.