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Carlos Apellániz

Carlos Apellániz

Silvia Vázquez

Silvia Vázquez

May 14, 2021

Grupo Illana

Biographies

Grupo Illana

Vicent Gelós, flute

Javier Barambio, oboe

Joan Esteve, clarinet

Pau Moltó, horn

Tono Ruano, bassoon

Carlos Apellániz, piano 

Silvia Vázquez, soprano

Nou cançons per a la intimitat (1966) Francisco Llácer Pla (1918-2002) 10’

Jo sabia

Deixa'm estar amb tu

Sí, vull fer-me a la mar

Principio de asociación (2021) Esther Pérez (1990) 9’  

Sextet op.65 (2006) César Cano (1960) 23’

Chuang Tzu y la mariposa (2008) Enrique Sanz-Burguete (1957) 8’30” 

The three songs being performed today belong to the series Nou cançons per a la intimitat, with text in Valencian by the poet Xavier Casp, written for soprano, tenor, double bass, flute, clarinet, bassoon and piano, which follow one another in different vocal and instrumental combinations. They are for a combination of soprano, flute and piano, and were first premièred in the Aula de Música at the Ateneo in Madrid in the Última Obra concerts in 1966. The complete series was later premièred at Valencia’s Higher Conservatory of Music in 1970.

The poetic balance and identification of style in the work by Casp, D'amar-te, amor led Francisco Llácer Pla to write this series with the conviction that it would ensure musical cohesion. With the greatest possible economy of resources and neoexpressionist intent, an attempt is made here to emphasize the poetic effusiveness of the different texts, using the various atmospheres provided by the timbric combinations chosen. The writing technique is based on atonality by neutralizing intervals and the form is lied continu, lending different sound material to each sentence of text.

Sextet Op. 65 by César Cano (absolute première) is, according to the author, a composition for flute, oboe, clarinet, French horn, bassoon and piano. It was written upon request for Grupo Illana, a chamber group dedicated to such an ensemble, wishing to widen the repertoire written for sextet. The work is organized into four movements that share the same melodic and harmonic material, thereby increasing its structural and thematic unity. The first movement, entitled Chapter I, is predominantly rhythmic with counterpoints and broad passages of complex textures clearly showing the six performers’ instrumental skills. Chapter II is the slowest, most contemplative section, where trills play a notable part, creating additions that are gradually transformed. Chapter III, in triple time and scherzo style, begins with a flute solo. Then the oboe enters, forming a duet, which later becomes a trio when the clarinet appears. The flute is then silenced and the remaining duet becomes another trio with the bassoon, which in turn introduces us to an extensive duet of French horn and piano. Within this passage of duets and trios, some multiphonics appear in the woodwind instruments that form part of the structure of counterpoints. In the middle section, we find a noteworthy piano solo that leads us to the tutti with which this movement will later end. Chapter IV is the fastest. It contains a variety of perpetual movements that contrast with the slower passages of a different nature. It begins with the horn speedily repeating a note in staccato, reminding us of Chapter I’s enigmatic beginning. Two and three-time tempos alternate in this movement, with the composition ending in a rhythmic, powerful tutti that displays a demanding instrumental performance, as in many other fragments of the work. Sextet Op. 65 was commissioned by the Institut Valencià de la Música. It is dedicated to Grup Illana.

In Chuang Tzu y la mariposa (Chuang Tzu and the butterfly) ​​by Enrique Sanz-Burguete, there is an attempt to create different perceptions of musical time. The composer has sought a musical and psychological form that entails different levels of perception that “recall each other” and “intertwine”, though in this case his interest is in the time component of the music. Borges reflected a lot on time and attempted to demolish the different philosophical views on it. Throughout his New Refutation of Time, he rebuilt his arguments in different ways. The composer underlines one of them: he talks of Chuang Tzu. He is referring to Chuang Tzu’s dream, in which Chuang dreamed he was a butterfly and upon waking he did not know if he was Chuang Tzu and had dreamed he was a butterfly, or if he was a butterfly dreaming it was Chuang Tzu. Thus, following Berkeley’s idealistic doctrine according to which esse est percepi (to be is to be perceived), it is clear, Borges would say, that while Chuang Tzu was dreaming, for him the mental states making up the dream were real, and equally he thinks that it is arbitrary to establish the dream along a determined chronology.

Afterwards, chronologies and time for Borges are no more than a construction by man, ultimately a fiction. Dreams aside, the work has been constructed with seven time patterns, small musical sections, each of which imply a musical figuration or gesture, altering the piece’s narrative chronology and lending it a certain recursive, self-engendering nature. The first of them pays a small tribute to Manuel de Falla, with a figuration that evokes the first section of Noches en los jardines de España. The second is a tribute to Grisey and his Vortex Temporum, a work that set out on a certain path already trodden by some composers and along which the composer has also intended to walk. The patterns get shorter, according to the laws of perception, as if attempting to capture or arrive at Borges’ instant. After the epilogue, the aeolic sound provides the ending, a metaphor for eternity or refutation of time, with the beating of a perplexed heart. The score forms part of a series of works of the same name, which can be interpreted as a whole or separately. It was commissioned by the Institut Valencià de Música and is dedicated to the Illana ensemble, for whom it is intended.
 
 

Programación

05/14/2021  19:30hAuditori and Palau de Congressos in CastellónConcerts '21

Precios: 6 €

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