Concerts
“Madera y metal” (Wood and Metal)
Santi Mabad’s new project, “Wood and Metal”, combines two sound aspects of an instrument like the clarinet, the Bass and the Contrabass, each one built of different materials. The Bass made of wood, the usual material; and the Contrabass made of metal, used in some models of this interesting instrument. “Wood and Metal” allows us to appreciate the warmth of the sound of the wood, as well as the malleability of the metal, entering a vast array of vibrant subtleties of contemporary music.
The flexibility of this project enables a regular updating of the works and styles of which it is comprised, thus becoming a constantly changing route that is always progressing thanks to the permanent artistic relationship with the composers.
I
Bernal, Alberto C. De la deconstrucción de un trino III BCl-Elec
​
Saladrigues, Oriol Magma BCl-Elec
​
Perales, Carlos D. Theatrique BCl-Elec vivo
II
Fidemraizer, Sergio Tunnel#7 CBCl-Elec
​
Colasanto, Francisco Baile CBCl-Elec
​
Blardony, Sergio La madre parada CBCl-Elec
“Clarinets and Harlequins”
​
This project has been on the go for some years, combining two axes that support it. On the one hand, the use of the Soprano Clarinet and the Bass enable the audience to discern two different personalities since each instrument exists in its own right, whether alone or with electronics. On the other hand, the character of Arlecchino, from the XVI century Italian theatre, in the second part is shown from several aesthetic and sound perspectives, highlighting the use that Stockhausen makes fusing sound, choreography and mime in an attempt to achieve the total performing figure.
I
Vallés, Víctor Construction II BCl-Elec
​
Pérez Custorio, Diana Por abrir acantilados BCl-Elec
Lewin-Richter, Andrés Multifonías BCl-Elec
​
II
Cahuzac, Louis Arlequín Cl solo
​
Díaz, Rafael Arlequín pensativo Elec sola
​
Stockhausen, Karlheinz Der kleine Harlekin Cl solo-danza
“Bass Clarinet and string quartet”
​
This programme is dedicated in its entirety to the Bass Clarinet and comprises works from different periods. “Phantasy-Quintet” by York Bowen is a lyrical piece by this English composer and pianist from before the First World War, and makes for easy listening for a wide audience.
“Da uno a cinque” by Frits Celis, Belgian composer and orchestral conductor, highly familiar with the instrument because of the long-established clarinet tradition in his country, is a very solid 1989 work. This piece has also been arranged by the composer himself for other chamber music combinations such as the wind quintet.
“El Quinteto para el fin de los miedos” (The Quintet for the end of fear) by Diana Pérez Custodio is inspired, evidently, in both the title and the structure, by the “Quatuor pour la fin du temps” by O. Messiaen. In it the composer offers us a work full of nuances of timbre and texture, using extended techniques of each instrument in a well-understood fashion and forming part of the underlying essence of the work. In addition to the musical elements we find other extramusical ones like choreography, mime and the different special distribution of the instruments as the movements progress. This quintet is a piece, without doubt captivating, as is normally the case with Diana Pérez Custodio.
I
Bowen, York Fantasy-Quintet en Rem Op. 93
Celis, Frits Da uno a cinque Op. 27
​
II
Pérez Custodio, Diana Quinteto para el fin de los miedos
