Irene Kurka, Gesang
Text: Joachim Sartorius

Das irakische Alphabet ᛫ Irene Kurka

Walter Zimmermann, 15 Zwiefache Transzendiert (1979) Elliot Simpson, Gitarre

work for guitar (7′ / revised in 2020)
guitar: Marcos Lopetegui, to whom it is dedicated
FR Ruisseau inépuisable / CAT Rierol inexaurible / DE Unerschöpflicher bach / ES Arroyo inagotable / EN Inexhaustible creek
score display: https://jordirossinyol.com/2020/09/10/ruisseau/
"Le ruisseau courait sans précipitation en murmurant sous nos pieds. Je le comparais à quelque génie familier qui nous guidait à travers la terre, et de la main je caressais la tiède naïade dont les chants accompagnaient nos pas."
(chap.24 Voyage au centre de la terre, Jules Verne)

Ruisseau inépuisable

EN
This piece is composed from fragments of his own works, creating a discourse in the manner of a "trencadís" (decorative system developed by Gaudí and other architects).
CAT     
Aquesta peça està composta a partir de fragments d'obres pròpies, creant un discurs a la manera d'un trencadís (sistema decoratiu que van desenvolupar Gaudí i altres arquitectes).
ES       
Esta pieza está compuesta a partir de fragmentos de obras propias, creando un  discurso a la manera de un "trencadís" (sistema decorativo que desarrollaron Gaudí y otros arquitectos).

https://jordirossinyol.com/2022/10/09/esmicolo/

Esmicolo el fang

Extrait de Cinc frissons méta-mécaniques (2020) pour accordéon et deux percussions. Commande de Radio France pour l'émission Création Mondiale. Hommage aux sculptures cinétiques de Jean Tinguely.
Interprètes: Trio KDM
Anthony Millet (accordéon), Adelaïde Ferrière et Aurélien Gignoux  (percussions)

https://www.radiofrance.fr/francemusique/podcasts/creation-mondiale-l-integrale/cinq-frissons-meta-mecaniques-de-ariadna-alsina-tarres-diff-integrale-et-portrait-de-la-compositrice-8233180

Cinc Frissons méta-mécaniques - Extrait - Fata Morgana

Closca KC_ étude aux mouvements obsessifs (2016)

Intangible III

greys is a piece meant to explore and evoke a sound-world somewhat different than what we may be used to. It requires the performer to prepare their guitar, such that the frets do not create evenly spaced half-steps, like usual, but instead create unevenly spaced intervals that are between a half-step and whole-step. This is in a way a transformative process on the guitar—while the tone remains similar, the structure of how pitch is organized is fundamentally modified, both allowing for new possibilities while simultaneously disallowing the normal. Thus, it is meant, for both audience and performer, to thrust us into somewhere new, without option to return to where we once were. Old actions have new results.

Recording by Jay Sorce | http://www.jaysorce.com/
Premiered as part of the Hypercube Composition Lab

greys

IMPROVISATION: "Primavera" - saxophone and electronic music
Joan Bages, electronics
Iñigo Ibaibarriaga, saxophone

IMPROVISATION: "Primavera" - saxophone and electronic music

In writing this work, I wished to provide a space for all the members of the string quartet to have soloistic moments, as well as extended melodic passages, so that the whole quartet is involved and at the forefront. The first movement has strong tonal elements, while the second abandons them. Both, however, have a strong emphasis on lyricism and texture, and beyond that a certain affiliation with romanticism. The name comes from the type of wave, which happens to be the medium of sound, but besides also has a certain longingness to it. The standing wave appears in motion but is static in space—likewise there are elements in the quartet that move only within their own realm but remain static in their relation to their surroundings.

Recording by JACK Quartet | https://jackquartet.com/
Recorded at the Oktaven Audio Studio

Esmicolo el fang

Jordi Rossinyol

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