Seliox,  five interludes for saxophone and cello (2018) 
Composed by Juan Arroyo and played by Duo Denisov (Carl-Emmanuel Fisbach and Jeanne Maisonhaute).
Commissioned by Radio France for "Création Mondiale" conducted by Anne Montaron

SELIOX,  five interludes for saxophone and cello (2018).

JUAN ARROYO Seliox

Novedades: Clásica

Seliox (I)

Seliox (II)

Seliox (III)

Seliox (IV)

Seliox (V)

Check it out on YouTube: https://youtu.be/ZXGsnelW2yk

===== DIALOGUE =====
"If you do strike me down... my symphonies will go unfinished."
"If I strike you down..."
"My symphonies go unheard."
"So you see, you have put me in quite a conundrum."
"But perhaps it is this weird sense of... optimism..."
"That enables me to do this."
"..."
"Applaud, my friend, the comedy is over."

"And tragedy is about to strike."

===== NOTES =====
AT LAST. 7 MONTHS LATER. AND IT SOUNDS LITERALLY ***NOTHING*** LIKE THE PREVIEW.
BUT BEETHOVENIA IS RELEASED.
AND THE CRITICS
ARE
Q

This was a little bit of an experiment. I had no idea what I was gonna do with Beethovenlovania when it struck me:
Make a it megalo that goes from pure piano to orchestral to fucking batshit metal.
The orchestral part idea originates from the first version of LUNATIC, a part that you haven't heard because it wasn't part of the preview (nor was it actually made at the time of the preview's upload i think).

I had a lot of fun messing around with numerous songs Beethoven's known for. There's one song I would've wanted to add but had no idea how to. And that's fucking beethoven song that comes on Windows XP. The mixing is probably rougher around the edges than i'd wanna admit but overall I still think this is one of my better works, 'specially compositionally.

EDIT: NO THIS ISN'T FOR CLASSICAL CHRONICLES SWAP GET THAT SHIT OUT OF YOUR HEAD.

===== CREDITS =====
@pyrartmid for inspiring the dialogue

[A Beethoven Megalovania] LUNATIC

One Learns (Demo)

En julio, el Ballet Municipal de Lima #BML regresa con uno de los clásicos más conocidos del repertorio mundial.

Lago de los Cisnes

demos

chrysalis (demo)

Juan ARROYO
www.juan-arroyo.com
Photo by Kamir Meridja

Composer in residence at the Center Henri Pousseur (2014), IRCAM (2015), member of the Academy of France in Madrid-Casa de Velazquez (2016/17), composer in residence at the Art Zoyd Music Creation Center, member of the Académie de France in Rome-Villa Médicis for the year 2017/18, he is actually composer in residence at the National Orchestra of Peru.

Juan Arroyo was born in Lima, Peru. He studied composition at the Conservatories of Lima, Bordeaux and at the National Conservatory of Music and Dance in Paris. He deepens his musical knowledge in formations like Voix Nouvelles and the IRCAM. He has been guided by eminent composers such as Brian Ferneyhough, Heinz Holliger, Henri Pousseur, Mauricio Kagel, Michael Levinas, Luis Naón and Stefano Gervasoni.

His music is rewarded with numerous awards such as the prize of the Salabert Foundation (2013) and the prize of the Academy of Fine Arts of France (2015). He receives prestigious commissions from the French Ministry of Culture, Radio France, Centre Henri Pousseur, SACEM, Proxima Centauri and Tana string quartet. His works are performed by eminent musicians such as Ensemble Intercontemporain, L’Itinéraire, Linea, LAPS, L’Arsenale, Regards, Sonido Extremo, Orquesta Nacional de Perú, Vertixe Sonora, Claude Delangle, Jeanne Maisonhaute, Antonio Politano and Maribé Charrier. His music is performed at great festivals such as Ars Musica, Cervantino, La Chaise-Dieu, Ensems and ¡Viva Villa!

His work of composition is articulated around the Magical Sound Realism through the different techniques of sound hybridization. In fact, in 2014, he began a fundamental stage of his artistic work with the construction of new instruments capable of transmuting his sound, the TanaInstruments. This allowed him to hybridize the perceptual indices of sounds in order to reveal their evocative and irrational nature of their substance, sometimes making them enigmatic.

The uniqueness of his work lies in these games of displacement, of movement between a causal listening and a reduced listening, passing through many intermediate states of perception. Juan Arroyo explores these different degrees gradually blurring the sources of sound in the manner of a photographer or cameraman, making us travel from the concrete to the abstract, from materiality to immateriality, playing with the configuration of its objective.