Orquestra ADDA Simfònica & Spanish Brass

Friday 16 September 2022
Auditori ADDA Diputació d'Alacant
Free admission with invitation until full capacity
Comunitat Valenciana

Metastaseis (1953-54) Yannis Xenakis (1922-2001) 8’

Mosaicos de Arena Errante (2022) J.J Peña Aguayo (1973) 20’

Figuratio I. Mein Logos! (2021) David Moliner (1991) 12’

Ali y Cántara, Poema Simfònic (2022) Óscar Navarro (1981) 24’


Iannis Xenakis (Brăila, Romania, 1922 – París, 2001) 


Composed in 1953 and 1954 and first performed at the 1955 Donaueschingen Festival conducted by Hans Rosbaud, Xenakis translated Metastaseis as “dialectical transformations”, transformed musical structures and parameters that were a constant theme in his compositions.

In Metastaseis, Xenakis applied some of the geometric progressions from Le Corbusier’s modulor to the arrangement of the intervallic structures and to the duration of the dynamics and timbres. He also outlined string glissandos in an architectural chart, with the tone on the Y axis and the tempo on the X. (The shapes of these charted glissandos—hyperbolic paraboloids—influenced his design for the Philips Pavilion and Le Corbusier/Varese’s Poème électronique a few years later).

Metastaseis begins with the strings and each string part is individually notated in unison in a soft natural G. One by one, the strings glide in carefully crafted glissandos, quickly building up into a mass of furious buzzing, with extreme alternations of dynamics and timbre. Wind and percussion stir up the waters, particularly in the second half of the work, but this is certainly string-focused music. The end boasts massive glissandos before settling into a buzzing G sharp in unison, which fades from fff to ppp.

J.J. Peña Aguayo (San Juan, Puerto Rico, 1973)
Mosaicos de Arena Errante (Mosaics of Wandering Sand) (world première)
“Neo-African sounds in the new musics of the Caribbean”

This is a première work for solo brass quintet, Puerto Rican bomba group and orchestra, with choreography by Isadora López Pagán and participation from Spanish Brass and Marina Molina, Daniela Torres and Ambar Rosado as bomba portorriqueña performers.

In the expressive front line of Wandering Mosaics of Sand there is a merging of the sounds and rituals of Puerto Rican bomba—an interdisciplinary genre from Puerto Rico with a notable African influence arising from the free and slave black communities of colonial times—with the symphonic world, achieving the multifaceted experience of timbre avant-gardes, improvisation and unique interactions with dance and stage movement.

It is inspired by a scene from the film Nenén de la Ruta Mora (1955) by the Division for Community Education (DIVEDCO) of the Commonwealth of Puerto Rico’s Department of Public Instruction. In the film, little Nenén —touring the town of Loíza together with an imaginary character at the Apostle Santiago festivities—comes across a bomba dance on the sandy paths of the Las Carreras neighbourhood. In the scene, a character wearing carnival attire and mask chases the child through different scenes of the festivities, while the wandering sand can be seen in the particular tradition of barefoot bomba dance and free participation from the public. The scene acts as a tribute to resistance, ranging from the humblest levels of society to colonisations of race, spaces and spiritual beliefs. Still today, even with the development of pavements and buildings, this neighbourhood has sand over its ground. It is a metaphorical colonisation in reverse of the haloes of civilised art through the collective memory of humble souls in conversation between generations.

David Moliner (Castellón, 1991)
Figuratio I. Mein logos

Written in 2018, according to David Moliner himself this concerto for percussion and orchestra “starts from a direct premise; the line as a motor element of a musical discourse; the line in all its aspects, horizontality, cyclical permutation, semi-vertical development and temperate oscillations. The logical part of the linear interaction, that is to say, the logos, is the key element of the artistic conception of the work, which leads to emotional states including aspects such as whistles, bells, whispers or foot-tapping.” The composer, who will be performing as a percussion soloist, adds regarding the interpretation of the piece: “…the concert’s name has been chosen not with a classical idea of a solo concert but as a living organism in which all the instruments are ‘contaminated’ by percussive language

Oscar Navarro (Novelda, Alicante, 1981)
Alí y Cántara, Poema Sinfónico (Alí and Cántara, Symphonic Poem, World Première)

Centuries ago, in the city where Alicante stands today, a caliph lived with his family. Of all his children, Princess Cántara was famous for her extraordinary beauty, and she had no shortage of suitors. Indeed, the struggle between them gave rise to the name of Alicante.

There were two young people who would dispute the love of the princess: Almanzor and Ali. Princess Cántara did not know who to choose, since both were attractive and gentle. So the Caliph, her father, had an idea: evoking the twelve labours of Hercules, he asked them to carry out a complicated task. The first one to finish it would be chosen as the husband for the Muslim princess.
The labours requested of them were: Almanzor had to travel to India to bring back spices and silks for the princess, while Ali promised to make an irrigation canal from which to draw the water to supply the city.

While Almanzor headed for India, Ali began his task; and on being so close to Cántara, he did not hesitate to court her. The young man wrote to her, sang and recited poems. Hence, the princess fell madly in love with him. Cántara did not need the young men to finish their labours: her heart had already chosen, and she wished to marry Ali.
Some time later, Almanzor returned from India with his task completed, unaware of the love between the princess and his rival. The caliph, who was a fair man, seeing that Almanzor had completed his task, gave him the hand of Cántara.
When Ali found out, he threw himself down a ravine distraught with pain at the point known today as the Tibi Dam. And it so happened that where his body had fallen, the ground opened up and water gushed forth. When Cántara learned of the tragedy, she also leaped into the void in the Sierra de San Julián. Since then, the place is known as ‘the Precipice of Moor’s Leap’. With the loss of the princess, the caliph fell into a deep depression. Finally, he decided to jump into the abyss from the top of his castle.

The inhabitants were dismayed by what had happened and decided to change the name of the city to “Alcántara”, so that the name of the lovers, Ali and Cántara, would remain eternally bound. Over the years, that name became Alicante, the name by which we know the city today.


The regular orchestra of the Alicante Provincial Council Auditorium, ADDA-Fundación de la Comunidad Valenciana. It has gained national and international recognition thanks to the quality and energy of its sound.

ADDA·Simfònica collaborates with guest conductors such as maestro Valery Gergiev, Christian Lindberg, Álvaro Albiach, Jurjen Hempel, Yaron Traub and Carles Magraner as well as with soloists as prestigious as Maria João Pires, Pacho Flores, Ángeles Blancas, Stefano Bollani, Denis Kozhukhin, Juan Floristán, Varvara Nepomnyashchaya, Damián Martínez, María Florea, Sandra Ferrández, Alexander Ullman, Iván Martín, Joan Enric Lluna, Ginesa Ortega, Marina Heredia, Cañizares, Juan Echanove, Joaquín Achúcarro, Igor Yebra…etc. Michael Nyman, David Mora and Per Egland have written works for the orchestra. Other remarkable projects were performed with the Choir of the Madrid Region, Orfeó Valencià, Spanish Brass, and Títeres Etcétera.

In addition to its symphonic activities, the orchestra has an important commitment to contemporary music and historical repertoire and plays a significant social and pedagogical role in the region. It has performed concerts at the Festival “Summer of Purpose” Munich, Grupo Planeta’s Azorín Award, the National Sports Gala and the opening of the Volvo Ocean Race. It has also collaborated with the acclaimed theatre and opera group La Fura dels Baus, in productions of Carmina Burana and Haydn’s The Creation.
Stand-out recordings of the orchestra include works by Stravinsky, Mahler, Beethoven, Prokofiev, Barber, Manuel de Falla and Shostakovich, which were highly praised by music critics. The prestigious Melómano de Oro was awarded to the “Music for Emorions” album and recently an international contract has been signed to record three CDs for the label Warner Classics.
Acclaimed performances at Valencia’s Palau de les Arts Reina Sofía and Castelló’s Auditori under the baton of chief conductor Josep Vicent were highlighted last season, and in the coming months ADDA·Simfònica will tour China and will be present on the stage of festivals in Italy and Holland, performing with artists such as Labèque sisters and Denis Kozhukhin.

Josep Vicent, director titular
Spanish musician who, over the course of an extraordinary and unique career, has worked with some of the most renowned symphonic ensembles from Spain and abroad: London Symphony Orchestra, Slovenian Philharmonic, Rotterdam Philharmonic, Paris Chamber Orchestra, Royal Philharmonic, The Hague Residence Orchestra, Netherlands Radio Orchestra, Royal Liverpool Philharmonic, Kiev and Gewandhaus Leipzig orchestras, Orquesta del Teatro Real, Orchestre du Théatre Royal de la Monnaie, New World Symphony Miami, Durban and Auvergne orchestras, National Symphony Orchestras of Belgium, Chile, Uruguay, Brasil… and most spanish symphony orchestras, invited regularly by Barcelona Symphony Orchestra, Orchestra of Valencia, National Orchestra of Spain…
Since 2015/2016 Josep Vicent has been ADDA’s artistic and musical director and principal conductor of ADDA Simfònica. Former principal conductor of the Balearic Symphony Orchestra, he also conducted the Jeunesses World Orchestra (The World Orchestra) from 2005 to 2015, with which he completed 15 tours across four continents.

A pioneering explorer of new formats and audiences for classical music, he conducted opera productions at Madrid’s Teatro Real, Barcelona’s Teatre del Liceu, the Leipzig Opera or Seville’s Teatro de la Maestranza, among others. He has worked as musical director with the acclaimed opera and theatre company La Fura dels Baus since 2014.

With an extensive career in contemporary music, he has premiered hundreds of pieces and was artistic director of the Xenakis Festival, the Nits de la Mediterrània Festival and the Amsterdam Percussion Group.

Former assistant of maestro Alberto Zedda, he was awarded as best international young music performer (Premio de Interpretación de Juventudes Musicales Internacional) and has also received the Ciudad de Valencia Arts Award 2013 and the Óscar Esplá Ciudad de Alicante Award. He was appointed as international ambassador for the Foundation Culture of Peace by Federico Mayor Zaragoza.

During the season 19/20 he made his debut as conductor of La Verdi-Milan, Lille National Orchestra and WDR (Germany) orchestra, with concerts at Amsterdam’s Concertgebouw. Future engagements will take him on tour with the Belgian National Orchestra and the Israel NK Orchestra, as well as the immediate debut with Sant Petersburg Philharmonic and Sichuan Symphony Orchestra of China.

Artistic sheet

Spanish Brass, brass quintet
Carlos Benetó, trumpet
Juanjo Serna, trumpet
Manolo Pérez, horn
Indalecio Bonet, trombone
Sergio Finca, tuba

Marina Molina, Daniela Torres and Ambar Rosado, Puerto Rican bombshell
Isadora López Pagán, choreography and dance

David Moliner, percussion
Josep Vicent, titular director

World premiere
Les Arts
Spanish Brass
ADDA Simfònica