Repertoire
Clara Iannotta: Dead Wasps in the Jam-jar (i)
Violin 3’ 20´´
Natacha Diels: Symbiosis II
Violin, cello, piano and computer 8’
Bryan Jacobs: Dis Un Il Im Ir
Flute, piano and midi keyboard 5’
Clara Iannotta: D´ après
Flute, clarinet, piano, percussion, violin, viola and cello 8’
Clara Iannotta: The people here go mad. They blame the wind
Clarinet, cello and piano 10’
Daniel Moreira: Countdowns
Flute, clarinet, sax, horn, trumpet, trombone, percussion, piano, viola and cello 7´
Daniel Moreira: Rhythmic Study 4b – Ludvan ven Beethowig
Piano or 2 toy pianos 3´
Artists
Ophélie Derieux, flute
Víctor de la Rosa Llorente, clarinet
Tere Gómez, sax
Marc Garcia, horn
Ramon Figeras, trumpet
Héctor Penades, trombone
Ismael Azidane, percussion
Lluïsa Espigolé, piano
Haize Lizarazu, piano
Elena Rey, violin
Nina Sunyer, viola
Mónica Marí, cello
Lorenzo Ferrándiz, conductor
Pablo Carrascosa Llopis, artistic direction and electronics
Program
Crossing Lines presents a portrait of two of several suggestive authors on the current international scene.
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Clara Iannotta works on music that explores the extremely subtle registers and thresholds of listening, often using harmonic amplification to make the process of acoustic signal decay or the extinction of the resonance of vibrating bodies audible. The fascination for Dorothy Molloy’s poetry nurtures several works in her catalogue, such as dead wasps in the jam-jar, music conceived to be interspersed between the movements of Partita no. 1 by J. S. Bach and made from the Corrente of this piece, and as The people here go mad. They blame the wind, a work that closes a cycle especially focused on the echo of the bells and the mechanisms of music boxes. D’après, for ensemble, is part of a trilogy based on the fascination with the suspension of the resonance of the Freiburg chime, and how sound memory can be transformed through repetition.
Two pieces by Brazilian Daniel Moreira close the concert. Countdowns, a work based on the countdown as a generator of dramatic potentialities, and Rhythmic etude 4b, an original deconstruction process with toy instruments that revisits Luwdig van Beethoven’s Für Elise as an infamous mass product.
