{"id":1965,"date":"2020-03-01T14:57:24","date_gmt":"2020-03-01T14:57:24","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1965"},"modified":"2023-07-10T15:16:16","modified_gmt":"2023-07-10T15:16:16","slug":"mas-alla-del-rojo-au-dela-du-rouge-1991-urbana-9","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/mas-alla-del-rojo-au-dela-du-rouge-1991-urbana-9\/","title":{"rendered":"M\u00e1s all\u00e1 del rojo (Au del\u00e0 du rouge) (1991) (Urbana 9)"},"content":{"rendered":"<p><b>For Flute, Clarinet, Violin, Cello and Piano<\/b><\/p>\n<p><b>Commissioned by Musiques Obliques ensemble<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Premiere in the Auditorium of\u00a0 mus\u00e9e Gr\u00f1evin on 11th June 1991.<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Duration: 13 minutes<\/span><\/i><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><!--more--><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The inclusion of <\/span><b>M\u00e1s all\u00e1 del rojo<\/b><span style=\"font-weight: 400;\"> in the <\/span><b>Urbana cycle <\/b><span style=\"font-weight: 400;\">sets a milestone in the organologic order in the evident relation that it has with regards to the other chamber pieces\u00a0 of the cycle. Beginning the cycle with a XX century classic formation was a beautiful way of leaving it behind.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">\u201cPierrot Lunaire\u201d, a text made for this formation posed all the challenges: as well as Sch\u00f6nberg\u2019s work, \u201cTreize couleurs du soleil couchant\u201d by Tristan Murail (work in which I took part as an interpreter in the eighties when I worked for Ensemble Itin\u00e9raire), and, of course, \u201cTalea\u201d by G\u00e9rard Grisey.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">In this first \u201csketch\u201d of the space, I dealt with the notions of trajectory and limit as essential components of writing. Naturally, and after years of maturating, to understand the profound meaning of the venture that would take me to the birth of the very Urbana cycle.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">Two main themes are implicit in the title of the piece: on the one hand, red in all of its possible meanings, and on the other hand, the work it takes to cross the limit, the final frontier.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">To summarise, I would say that the limit set by the color red makes us change our state. The word \u201cred\u201d suggests that other states have also been engines in the composition: mobility, violence, passion, lyricism and poetry, emotion and what is vivid, limits and their transgression.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The quintet is articulated in three movements reunited by a community of materials exposed and developed differently.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">Opposition and complement principles are the axis on which I used as basis for the construction of a univocal music material. These principles are present throughout the whole work. The different emotional stages of limits transgressions appear in a very different way: for example, the contrast that rules the construction of the first movement is built from the first beat by the shape of a direct matter (register and rhythmic opposition). This friction opposition area is notoriously stretched in the second movement by turning into a jagged and colored matter. Its change of state is achieved by accumulations that cause a register and matter explosion.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-weight: 400;\">The third movement is governed by the notion of \u201cfalling on the other side\u201d of the overpassed limit and the appearance in a different world that is in line with the previous one. The general construction of the piece has not been framed inside a particular system nor inside a determined aesthetic; on the contrary, as suggested by the title, its dramatic articulationobeys a purely musical order of ideas.<\/span><\/p>\n<hr \/>\n<p><strong>Au del\u00e0 du rouge I<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1965-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_1.mp3?_=1\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_1.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_1.mp3<\/a><\/audio>\n<p><strong>Au del\u00e0 du rouge II<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1965-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_2.mp3?_=2\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_2.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_2.mp3<\/a><\/audio>\n<p><strong>Au del\u00e0 du rouge III<br \/>\n<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1965-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_3.mp3?_=3\" \/><a href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_3.mp3\">https:\/\/www.luisnaon.com\/wp-content\/uploads\/music\/rouge\/rouge_3.mp3<\/a><\/audio>\n<p><strong><br \/>\nAu del\u00e0 du rouge<\/strong><\/p>\n<div><strong>Ensemble TM+<\/strong><br \/>\nChapelle Auguste Perret Arcueil,\u00a0Concert Public 1993.<br \/>\n<strong>Gilles Burgos<\/strong>, <em>fl\u00fbte<\/em>, <strong>Philippe Berrod<\/strong>, <em>clarinette<\/em>, <strong>Patrick F\u00e9vai<\/strong>, <em>violon<\/em>, <strong>David Simpson<\/strong>, <em>violoncelle<\/em> et <strong>G\u00e9rard Fr\u00e9my<\/strong>, <em>piano<\/em>.<br \/>\n<strong>Laurent Cuniot<\/strong>, <em>Direction<\/em><\/div>\n<hr \/>\n<p><a style=\"color: #800000;\" href=\"https:\/\/luisnaon.com\/en\/category\/cycle-urbana-en\/\">[ Urbana Cycle  ]<br \/>\n<\/a><a style=\"color: #800000;\" href=\"https:\/\/luisnaon.com\/en\/category\/6-chamber-music\/\">[ Chambre Music\u00a0]<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>For Flute, Clarinet, Violin, Cello and Piano Commissioned by Musiques Obliques ensemble Premiere in the Auditorium of\u00a0 mus\u00e9e Gr\u00f1evin 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 &hellip; <a href=\"https:\/\/luisnaon.com\/en\/mas-alla-del-rojo-au-dela-du-rouge-1991-urbana-9\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">M\u00e1s all\u00e1 del rojo (Au del\u00e0 du rouge) (1991) (Urbana 9)<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[60,65,70],"tags":[],"class_list":["post-1965","post","type-post","status-publish","format-standard","hentry","category-cycle-urbana-en","category-6-chamber-music","category-all-the-compositions"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>M\u00e1s all\u00e1 del rojo (Au del\u00e0 du rouge) (1991) (Urbana 9) - Luis Na\u00f3n \/ compositeur<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/luisnaon.com\/en\/mas-alla-del-rojo-au-dela-du-rouge-1991-urbana-9\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e1s all\u00e1 del rojo (Au del\u00e0 du rouge) (1991) (Urbana 9) - Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"og:description\" content=\"For Flute, Clarinet, Violin, Cello and Piano Commissioned by Musiques Obliques ensemble Premiere in the Auditorium of\u00a0 mus\u00e9e Gr\u00f1evin on 11th June 1991. Duration: 13 minutes It is the oldest of the works in the Urbana cycle. 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