“Here, as always (except perhaps in the very first works) the linguistic approach is evident. This music was born in a linguistic-formal context in which two elements, or rather two factors, are at play: structuralism and alea, obviously antagonistic. De Pablo seems to consider them as two fields, or poles, absolutely “vitandi”: his problem, whose solution makes him today -and not only from today- extremely interesting, would be the hiding of both fields by a very lively taste and feeling for the expressive, capable of bringing together what was stated before. The expression comes, first of all, requested, evoked. […]
The contributions of the musical tradition, even recent, always acquire here an autonomous or directly antithetical meaning; the punctual writing, chords on the piano with irregular rhythmic distribution (2/4, 2/16, 2/4, 3/4 and so on) of maximum autonomy and absolute independence through the inclusion among them, by surprise, of some “innocent” figures […]”.
Mario Bortolotto
TITLE
Polyphony of Composers V
composer
Luis de Pablo
interpreters
Soloists
Alda Caiello, soprano
PluralEnsemble
Conductor
Fabián Panisello
content
I. Trio de doses 2008
for voice, violin, violoncello and piano
II. Epistle to the Passerby 2000
for flute, clarinet, violin, viola, cello, violoncello and piano
I. Mosso assai
II. Vivace agitato
III. Long thoughtful
III. Pocket Zarzuela 1978
for voice, flute, clarinet, violin, cello, violoncello and piano
IV. Circe of Spain 2006
for voice, flute, clarinet, violin, violoncello, piano and percussion
