For piano, percussion and fixed sounds.
Initially conceived for a choreography by Christian Ben Aïm.
Photo: Arthur Péquin
The original space for which Duel 3 was written was very particular: the theatre’s parking lot, with a reverberation of almost 7 seconds. It was a very profound scene, with an enormous distance for the dancer to cover.
For violin and cello
Initially conceived for choreographies by Guesch Patti
and Andréa Sitter.
Photo: Arthur Péquin
Just like Duel 1, this second piece was thought for two different spaces. The musicians, synchronized using a click track, play the piece in different places and each of them is transmitted through loudspeakers in the auditorium the other is in. Originally, the piece was played two times, the public remains in the auditorium (the theatre’s rehearsal studios) and the interpreters, cords and dancers, interchange stages.
The piece, which has taken on a life of its own, can be played as a traditional duet as well as particular dispositives.
Tempo is uniform throughout the piece, comprised of three big arches in which the material mutates and creates a fusion of both instruments of polyphonic-like escapes. Continue reading Duel 2 * (Les princesses) (2008)
For clarinet in B flat and soprano saxophone.
Initially conceived for choreographies by Nathalie Pernette and Shiro Daïmon.
Photo: Arthur Péquin
The piece was intended to be performed by the instrumentalists within a considerable distance from each other. The original auditory space was a kind of long corridor of 25 metres long and 7 metres wide in which two dancers execute a very slow movement starting from each end into the centre where they intermingle. The public was arranged all through the length of the corridor and that way they perceived the instrumental sound from left to right. Continue reading Duel 1 * (Les princesses) (2008)
For alto saxophone and piano.
Commissioned by Société Selmer
For sale in Editions Billaudot.
For Saxophone quartet
Premiered in Eindhoven on 31th January 2010
Commissioned by AXONE quartet
Edited by Gérard Billaudot.
Rhevma is a greek term that could translate as “current”, is this case as an air current that moves along the reeds of the saxophone.
For soprano, clarinet & electronics.
Commissioned by the French Ministry of Culture.
Dedicated to Françoise Kubler and Armand Angster.
Continue reading Ultimos Movimientos (Last movements) (2014)
For saxophone quartet.
Commissioned by Yendo quartet and Radio France for their broadcasting of Alla Breve.
Tangos utópicos 1
Tangos utópicos 2
Tangos utópicos 3
Tangos utópicos 4
Tangos utópicos 5
Five 2-minute movements. This is the prerogative of “Alla Breve” broadcasting, a challenge. This estimulating limitation was particularly adapted to the idea of forging a series of pieces that combine the incredible virtuosity of these instrumentalists with the twist of a possible, hypothetical, utopian tango.
For chamber orchestra
Ex lex is divided into five movements, in which the first and the second as well as the fourth and the fifth are linked. It was composed during 2011 and part of 2012 and it is commissioned by the Ensemble Contrechamps of Ginebra, which specializes in music from the XX and XXI century.
The title, in latin, from the law, about the law.
For Flute, Clarinet, Violin, Cello and Piano
Commissioned by Musiques Obliques ensemble
Premiere in the Auditorium of musée Grñevin on 11th June 1991.
Duration: 13 minutes
It is the oldest of the works in the Urbana cycle. I have decided a posteriori to include it because it is the founding work that led me to think the sonorous space in a different way, and also because it is located at the beginning of the questioning that carried me to imagine the suitability between the poetic and the musical material that I have always wanted to experiment in the composition.
Continue reading Más allá del rojo (Au delà du rouge) (1991) (Urbana 9)
