{"id":11581,"date":"2024-05-29T06:30:23","date_gmt":"2024-05-29T06:30:23","guid":{"rendered":"https:\/\/pluralensemble.com\/portfolio\/polyphony-of-composers-v\/"},"modified":"2024-07-14T09:01:06","modified_gmt":"2024-07-14T09:01:06","slug":"polyphony-of-composers-v","status":"publish","type":"portfolio","link":"https:\/\/pluralensemble.com\/en\/portfolio\/polyphony-of-composers-v\/","title":{"rendered":"Polyphony of Composers V"},"content":{"rendered":"\t\t
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“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. […]\n

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 […]”.<\/p>\n<\/p>\n

Mario Bortolotto<\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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Polyphony of Composers V<\/span><\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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composer<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Luis de Pablo<\/span><\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Soloists<\/strong><\/span><\/p>

Alda Caiello, soprano<\/span><\/p>

PluralEnsemble<\/strong><\/span><\/p>

Conductor<\/strong><\/span><\/p>

Fabi\u00e1n Panisello<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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I. Trio de doses <\/i><\/b><\/span>2008 <\/span><\/span>
for voice, violin, violoncello and piano<\/span><\/span>

II. Epistle to the Passerby <\/i><\/b><\/span>2000 <\/span><\/span>
for flute, clarinet, violin, viola, cello, violoncello and piano<\/span><\/span>

I. Mosso assai <\/span>
II. Vivace agitato <\/span>
III. Long thoughtful<\/span>

III. Pocket Zarzuela <\/i><\/b><\/span>1978 <\/span><\/span>
for voice, flute, clarinet, violin, cello, violoncello and piano<\/span><\/span>

IV. Circe of Spain <\/i><\/b><\/span>2006 <\/span><\/span>
for voice, flute, clarinet, violin, violoncello, piano and percussion<\/span><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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“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 […]<\/p>\n","protected":false},"author":6,"featured_media":7688,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","portfolio-category":[157],"portfolio-tag":[],"class_list":["post-11581","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","portfolio-category-discography"],"_links":{"self":[{"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio\/11581","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/comments?post=11581"}],"version-history":[{"count":8,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio\/11581\/revisions"}],"predecessor-version":[{"id":12305,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio\/11581\/revisions\/12305"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/media\/7688"}],"wp:attachment":[{"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/media?parent=11581"}],"wp:term":[{"taxonomy":"portfolio-category","embeddable":true,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio-category?post=11581"},{"taxonomy":"portfolio-tag","embeddable":true,"href":"https:\/\/pluralensemble.com\/en\/wp-json\/wp\/v2\/portfolio-tag?post=11581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}