Eleboración de madrigales de Gesualdo da Venosa y Claudio Monteverdi
para violonchelo solo
polittico per coro misto ed elettroacustica (ATTB)
Encargo del Festival internacional de arte sacro de la Comunidad de Madrid – 2023 (http://rgbmultimedia.es/proyectos2023/fias2023 )
ESTRENO ABSOLUTO
22- 03-2023 – Basilica Pontificia de San Miguel – Madrid
CORO VICTORIA & SCHOLA ANTIQUA
http://rgbmultimedia.es/proyectos2023/fias2023/corovictoriascholaantiqua.html
«Gli strumenti, […] hanno una loro stagione, una vita vera e propria, con la sua infancia, maturità e vecchiaia e anche la morte, oltre la quale talvolta essi ancora sussistono, ma d’una vita storica, artificiosa e culturale» (Beniamino Dal Fabbro, Crepuscolo del pianoforte)
«Los instrumentos tienen una loro estación, una vida real, con su infancia, madurez y vejez. Y también la muerte, más allá de la cual ellos existen todavía, pero una vida histórica, artificiosa y cultural»
«The instruments have they own season, a real life, with its childhood, maturity and old age. And even death, beyond which they still exist, but a historical, artificial and cultural life«
– PETER SZENDY
I love them more than all the others, the arrangers. The ones who sign their names inside the work, and don’t hesitate to set their name down next to the author’s. Blunty adding their surname by means of a hyphen: Beethoven-Liszt (for a piano version of the nine symphonies), Bach-Webern (for an orchestration of the ricercare in the Musical Offering), Brahms-Schoenberg, Schubert-Berio, who else-in short, a whole mass of double signatures. Now, it seems to me that what arrangers are signing is above all a listening. (LISTEN: A HISTORY OF OUR EARS)