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September 16, 2021

Ensemble Mosaik


Ensemble Mosaik

Enno Poppe, director

Roberto Maqueda, solista de percussió
Bettina Junge, flauta
Simon Strasser, oboè
Christian Vogel, clarinet
Martin Losert, saxòfon
Roland Neffe, percussió
Ernst Surberg, sintetitzador
Adrian Pereyra, guitarra elèctrica
Chatschatur Kanajan, violí
Karen Lorenz, viola
Mathis Mayr, violoncel
Arne Vierck, director de so

time. cage (2021) Manuel Rodríguez Valenzuela (1980) 40'

si callalo pudié sentirsas (2020) Irene Galindo Quero (1985) 12'

The turning dance of the bee (2016) Liza Lim (1966) 14'

The piece is written for a solo percussionist, ensemble and video. There are 2 different parts, “time” and “cage", each of them divided into smaller movements and all of them intertwined together:


I liked the idea of having the solo percussionist caged in a small room full of amplified instruments, built and designed by myself. At first it was a practical decision, a closed room would mostly stop the natural sound of the instruments and therefore not mixing with their amplification and effects.

But then it became clear to me that caging the soloist had much more to do with the need of communication from the point of view of isolation.

For that reason I imagined a bird singing from its bird cage to other birds. Each movement of this “cage“ part is dedicated to each of the musicians, as if the soloist was having a dialog with each of them. It seems birds sing for vanity, but it is so they appear to be fit and healthy to other birds…


In recent years time and our perception of it became an important topic in my life. I experienced a sudden contrast between the high-speed and the very slow motion, and since then my music seems to focus on this contrast.

It looks like our brains trick us in different ways to deal with all the amount of information that technology brings to our daily lives. Some researchers think our hunger for time and information may modify our brains so we start to perceive different layers of time simultaneously in the future. In this part I focus then on the perception of time in our high-speed society, but also based on the context of isolation.

For this reason my idea was to record audio and video material of the musicians playing an arrangement of an old jazz song, and with this, then "compose"/edit short pieces using different time effects (slow motion, fast forward, reverse, repetitions and so on). (Manuel Rodríguez Valenzuela)

A few months ago, the poet Ángela Segovia and I talked about a text for a new piece for ensemble mosaik. I had imagined a kind of augur who reaches a junction, sorts out his thoughts and feelings and continues in both directions at once. I was interested in the idea of parallelism and bifurcation, of temporal directionality with simultaneous contra-intuition. To follow paths and also to come back to them.

Then I read Merci. Dos Hermanos, a long poem by Ángela, which she wrote for kind of a catalogue complementing an intervention by Gonzalo Borondo in the Temple des Chartrones in Bordeaux. In that poem there are a sister and a brother who are roaming in different places, maybe even different worlds: in a church, where everything is always dark and yet still visible in detail, a church, where there’s absolute silence, and in a forest so full of light that it’s impossible to see anything but you’ll the tiniest leaves of grass whisper. Those two people, both between the state of a child and a grown up, start hearing each other internally. This way they lead sort of a telepathic dialogue, comforted by the newly grown inner company.

The fragment appearing in my work is a simultaneous poem, written in two voices by Ángela Segovia. The flutist Bettina Junge and the viola player Karen Lorenz also act as speakers. Around those two and their instruments the ensemble splits. Having spent a long time working with materials created from transcriptions of sounds, for this piece I have only transcribed small threads from sound spectra, which I reassemble according to pseudo-cartographic indications, into a semi-transparent fabric. These threads would probably be inconspicuously cut out of a recording, so insignificant are they: as if one could extract a fine blue vein from the green of a painting and assign it to another context, where it becomes independent. (Irene Galindo Guero)

Honey bees dance in the hive, passing on their knowledge of places where flowers full of nectar and pollen can be found. They perform a waggle dance in a circular or figure-eight path. The angle they take to the sun serves as a navigational aid for their fellow bees. The figure eight also denotes infinity. It thus represents both a mathematical concept and a path of ecstasy drawn by the bees. (Liza Lim)



09/16/2021  19:30hMartín i Soler Theatre of Palau de Les ArtsConcerts '21


time. cage. Manuel Rodríguez Valenzuela

The Maerzmusik festival in Berlin hosts, on March 26, the world premiere of ‘time. cage ', a work composed by Manuel Rodríguez Valenzuela thanks to a Leonardo Grant in Music and Opera. Originally conceived for its live performance and finally transformed into a film-concert for its premiere in ‘streaming’, this work for percussionist, ensemble and video deals intensively with time and the possibilities of its manipulation in a compositional context. More information at https://bbva.info/2P7kxGp

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