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Trio Zukan

Trio Zukan

Trio Zukan

Trio Zukan

May 08, 2021

Trio Zukan


Gorka Catediano, percussion

Maria Zubimendi, accordion

Jon Ansorena, txistu


Begiratu (2018) - María Eugenia Luc (1958) 10'

Luggage by heart (2021) – Carolina Cerezo (1993) 10’ (comissioned by IVC, world premiere)

Lantz (2016) - Mikel Chamizo (1980) 11'30'' 

Desprendida voz (2021) - Juan José Eslava (1970) 10’ (world premiere)

Bertso (2019) - Francisco Domínguez (1993) 10’

Phobia (2014) - Hugo Morales (1979) 5'

Almost since they began, Trío Zukan coined the term “sound perspectives” (miradas sonoras) to encompass the multiplicity of interests that define them as performers. Such interests are nearly as numerous as those we can find in contemporary musical creation itself. Hence, their programmes include the most experimental proposals alongside other more traditional works that they still consider to be of great musical interest. Such is the case of Begiratu by María Eugenia Luc, a perspective looking “at a time that is subjetive, internal, unmeasurable; a time that amplifies (merging the present with different moments from the past)”, created with the Argentine composer’s timbral refinement. By contrast, Luggage by heart, Carolina Cerezo’s most recent work, is a conceptually deep proposal that follows the line of theatre of documentary objects that the creator from Málaga has been researching in recent years. As a proposal for the stage, there is just one element: a flight case “with a very special aura given by the potential objects it has contained and may contain in future; the aura of journeys it has endured and witnessed”. 

Lantz by Mikel Chamizo, which takes its name from the town in Navarre that holds a brilliant yet terrible atavistic carnival, is a score arising from Basque folklore, but not from a romanticised vision of its rhythms and melodies. Rather, it stems from the crude dramticism that appears from its nooks and crannies, and from the powerful character that its traditional instruments possess with their imperfections. Desprendida voz (Detached voice) by Juanjo Eslava, like so many works by the Navarrese musician, has an ecological, animist intent. Based on the poetry found in images such as “fallen tree, lichen, bramble rain”; “Detatched bark where life flows” and “Stone-bird: childhood dream”,here the instruments are no longer a simple tool to make sound, but they inherit the spirit of the raw materials with which they were made. 

Bertso, by Francisco Domínguez, falls within a line of creations with which the musician from La Mancha explores spoken language’s orality and relationship with composing. Specifically, the composition stems from an improvised bertso or poem from one of the most famous bertsolari poets from the Basque Country: Maialen Lujanbio. In it, she deals with transexuality, while Domínguez has attempted to “blur the borders between the sounds of language, Basque and the instruments”. The performance closes with Batucatta and Trauma, two fragments from the ballet Phobia, in which the Mexican composer Hugo Morales explores “the limit between fear and fear without limits” through instrumental devices with a clear impact. 

 Mikel Chamizo




05/08/2021  19:30hAula Magistral del Palau de Les ArtsConcerts '21

Precios: Free entry until complete seats


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