¿Quién no se ha sentido solo o sola alguna vez? 
El texto de Auden me hizo reflexionar sobre qué significa realmente la soledad y si va más allá de la ausencia física de otras personas. ¿Podría ser el amor una solución o siempre habrá una soledad infranqueable que nos aisle en nuestro desierto interior y nos separe de los demás?

Intérpretes:
Tenor: Aitor Garitano
Piano: Marta Rama

Poema de Wystan Hugh Auden:

Each lover has a theory of his own
about the difference between the ache
of being with his love, and being alone:

why what, when dreaming, is dear flesh and bone
that really stirs the senses, when awake,
appears a simulacrum of his own.

Narcissus disbelieves in the unknown;
he cannot join his image in the lake
so long as he assumes he is alone.

The child, the waterfall, the fire, the stone,
are always up to mischief, though, and take
the universe for granted as their own.

The elderly, like Proust, are always prone
to think of love as a subjective fake;
the more they love, the more they feel alone.

Whatever view we hold, it must be shown
why every lover has a wish to make
some other kind of otherness his own:
perhaps, in fact, we never are alone.

Alone

Aqueras montañas

Si te digo te quiero, verás en el reflejo el eco de mis lágrimas...

taille ni is a commission by rainy days luxembourg under the artistic direction of catherine kontz. i composed it for the ensemble ars nova lux. taille ni is an allusion to small sizes (tiny - taille ni) and my autobiographical confrontation with the fact that as a two-metre person i would sometimes like to be small and inconspicuous again. sometimes i would like to be a small boy again, concentrated, building with lego in our playroom. thus the fascination of the quiet, small and fine sound and the concentrated but playful exploration of the possibilities of how to assemble such sounds play a role. for taille ni, the instruments are to be viewed as miracles of sound from the eyes of a child, in order to arrive at a new learning of the approaches to the instruments: sound stands above convention and hearing above virtuosity.

Premiere: 19.11.2023: 
vibraphone: Luc Hemmer
piano: Kae Shiraki
acc. guitar: Josip Dragnic

Recording: March 2024
vibraphone: Heechan Lee
piano: Seunghun Shin
acc. guitar: Ruben Mattia Santorsa

Recorded by Rebekka Homburg

Many thanks to Sacem Luxembourg, Fondation Indépendance BIL, UdK Berlin – Tonmeister

taille ni

TACTUS es un término que proviene del latín y se refiere al sentido del tacto, pero también tiene un significado específico en el contexto musical. Se refiere al pulso o latido interno de la pieza.

Es una obra de 8 minutos de duración, que explora la importancia del tiempo en la música y el efecto que puede causar el transcurso del mismo, tanto desde una perspectiva técnica como emocional. Busca la conexión entre la música y las sensaciones físicas así como la forma en que el ritmo puede afectar emociones o evocar imágenes más táctiles.

ENSEMBLE ASCOLTA

Trompeta: Markus Schwind

Trombón: Andrew Digby

Violonchelo: Erik Borgir

Piano: Florian Hoelscher

Guitarra: Hubert Steiner

Percusión: Boris Müller

Percusión: Julian Belli

Estreno: 27 de Abril, Musikene.

TACTUS (Ensemble ASCOLTA)

Please, use headphones or good loudspeakers.

The purple fuchsia bled upon the ground. (2023–24)
Commission: Westdeutschen Rundfunk & Wien Modern

Live Recording: Pierre-Laurent Aimard & WDR Orchestra (cond. Elena Schwarz), 12 May 2024, Cologne

Photo: WDR/Holger Talinski

The purple fuchsia bled upon the ground. (2023–24), for piano and orchestra

Coro Easo Abesbatza
Solista: Marta Gracia
Director: Gorka Miranda

Alone

Nuria López García

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