Banda Simfònica Municipal d’Alacant

Saturday 24 September 2022
Auditori ADDA Diputació d'Alacant
Free entry with invitation until full capacity
Comunigtat Valenciana

Alien, the eight passenger (1979) Jerry Goldsmith (1929-2004) Arranjament: Pablo Olivas

One thousand seconds of exorcisms against human stupidity (2021) Pedro Salinas (1973)

Jaleo (2017) Sixto Herrero (1965)

La ciudad (2018) Sixto Herrero (1965)

Planet of the Apes (1968) Jerry Goldsmith (1929-2004) Arranjament: Pablo Olivas

The music for Alien, the eighth passenger has by its own merits earned the right to be acknowledged among the most outstanding soundtracks in history for two reasons. On the one hand, this is because Goldsmith created an impressive, tremendously original and daring work for its time. The result is a soundtrack in which Goldsmith achieves a combined sense of strangeness, mystery and humanity in a future world in space. It is a world assaulted by a strange, brutal being that we do not know how to deal with, but which at the same time seems eerily attractive to us. That is precisely one of the reasons why Goldsmith is considered one of the greatest composers in history.

One thousand seconds of exorcisms against human stupidity, Pedro Salinas

It received a Special Mention from the Jury at the NOVI MUSICA International Composition Competition in Novi Ligure  in Italy in August 2021, which was the first of international awards the composer had received until then. The Giura praised the work for its extremely interesting writing with a predominance of “colourist” combinations. In the words of the jury, “The complex writing, especially for woodwind, means that some pages are of great technical difficulty taken as a whole. The technical mastery in dealing with the instrumental ensemble gives the piece a high level of quality.” The formal approach is arranged into a series of sections given cohesion by the initial cell and which are presented following a type of Fibonacci sequence after 100 seconds, then 200, 300, 500, and 800… using the last 200 seconds to end the work.

Jaleo, Sixto Herrero

It was created as a musical work in the form of a suite for saxophone quartet and music band, in which different underlying Hispanic-American dances coexist, ranging from flamenco, represented by the rhythm of cante jondo and bulerías, to Venezuelan waltzes and joropos, Cuban danzones, Argentine milongas and tangos, and Brazilian sambas. The orchestration is arranged for a saxophone quartet as a solo chamber group, in which instruments can be changed among its members, and a music band for grosso. The first dance, which has been written in the form of a musical suite and subtitled “Of bulería and cante jondo”, is inspired by Spanish flamenco.Underlying t his piece is a rhythm using bulerías and alegrías, interspersed by the “ays!” sung in a cante jondo, that is, a stretch inspired by cante adelante (singing to be heard ahead of dance) posed in a melisma format as if it were minera flamenco singing. In this first dance, the saxophone quartet (which on this occasion is made up of three soprano saxophones in Bb and a baritone in Eb), in addition to acting as a soloist, introduces the flamenco theme through sound elements based on musical spectralism, achieved by using extended techniques typical of the instruments. The music band represents the accompaniment of the guitar metaphorically without abandoning in many cases the concept of grosso. It also achieves the purpose of accompanying and contextualising the soloists’ musical discourse in terms of sound and motivation.

The city, Sixto Herrero

 This work is written for a large symphonic music band in a single movement in the form of a rhapsody. It was composed using ancient Gregorian modes based on a new concept, neomodality, a technique that enables new modal patterns to be reached with which the different sections of this musical work are designed, especially the last two. The work conceptually represents the territorial location of a city and its evolution through time. To do so, as a metaphorical idea, the music begins by describing the landscape belonging to prehistoric man, from the Palaeolithic to the Neolithic, from Homo habilis to Homo sapiens sapiens, from cavemen, from carved stone, from their rock-based and musical art to sedentary man who, after the appearance of writing, began to create the first human settlements and, as a consequence, the first cities, many of which were to develop until our times as we know them today. Hence, we are talking about pre-European man and the urban heritage passed down through the ages of Western history. To sum up, the work attempts to describe the different landscapes that have made up part of a city, starting out from a natural landscape without buildings, from the first human settlement in its last days, from the creation of the first city and its transformation to the present day, all described through the music, beginning from ancient musical material and transforming it in parallel into the city, mirroring the most representative ages of Western history.

Planet of the Apes, Jerry Goldsmith

This is an experimental OST. Other composers had already used contemporary and experimental music by this time, but Goldsmith was the first to do so in a blockbuster like this. Some identify it as the first completely atonal soundtrack in a Hollywood movie. Right from the opening credits, the music clearly shows its intentions: a series of percussions (filtered through an Echoplex), a little piano phrasing, various explosions among the brass…this is the perfect sound to transport us to an alien, primeval world. Although the soundtrack sometimes shifts through more atmospheric terrain as we accompany the astronauts in discovering the strange planet, the music shines in its continuous displays of action and orchestral violence. That energy explodes completely in the extraordinary scene of “The Hunt”, which you will be able to enjoy as the climax of the concert.

Artístic sheet

José Vicente Díaz Alcaina, director