{"id":11603,"date":"2024-04-16T16:59:02","date_gmt":"2024-04-16T16:59:02","guid":{"rendered":"https:\/\/pluralensemble.com\/portfolio\/physical-sound-david-moliner-pluralensemble\/"},"modified":"2024-07-13T13:54:45","modified_gmt":"2024-07-13T13:54:45","slug":"physical-sound-david-moliner-pluralensemble","status":"publish","type":"portfolio","link":"https:\/\/pluralensemble.com\/en\/portfolio\/physical-sound-david-moliner-pluralensemble\/","title":{"rendered":"Physical Sound \/ David Moliner + PluralEnsemble"},"content":{"rendered":"\t\t
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“From my first meeting with David Moliner in 2019, a word emerged that implicitly carries the postulates that the Spanish poet Jos\u00e9 \u00c1ngel Valente established shortly before he passed away in Palabra y materia<\/em>:expresi\u00f3n. David’s sound world is irremediably linked to expression. <\/p>\n

David’s sound world is irremediably linked to expression. The sound becomes a sensory experience for both the performer and the “spectator”, the sound is transformed into matter through bodily expression in a sort of “perfect melos” of classical Greece, the union of instrument and voice. <\/p>\n

Sound, act and thought are unified: being and being unified. Undoubtedly, this sensory unification comes to David from the evanescence of the sound of percussion instruments and the music of Xenakis, a composer who devoted himself to rhythmic exploration. This is perhaps the common thread running through all the works that make up the present recording: turning sound into matter […].”<\/p>\n

Michael Thallium<\/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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Physical Sound<\/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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David Moliner<\/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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interpreters<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Soloists<\/span><\/strong><\/p>

David Moliner, percusi\u00f3n<\/span><\/p>

PluralEnsemble<\/strong><\/span>
Lope Morales, flauta <\/span>
Alberto Esteve, oboe <\/span>
Antonio Lapaz, clarinete <\/span>
Andr\u00e9s Gomis, saxof\u00f3n <\/span>
\u00c1lvaro Prieto, fagot\u00a0 <\/span>
Duncan Gifford, piano\u00a0 <\/span>
Juan Lu\u00eds Gallego, viol\u00edn I <\/span>
Erica Ramallo, viol\u00edn II\u00a0 <\/span>
Ana Mar\u00eda Alonso, viola <\/span>
Mikolaj Konopelski, violoncello<\/span>

Director<\/strong><\/span>
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. fantasie um das Klavier <\/strong><\/em>1991 para piano preparado<\/span><\/span><\/p>\n

II. Solo i “echo perp\u00e9tuel d’un F pure…” <\/strong><\/em>2016 para vibr\u00e1fono<\/span><\/span><\/p>\n

III. Was koordiniert ist! Ist nicht koordiniert… (Zwei kleine V\u00f6gel) <\/strong><\/em>2015 para flauta y saxof\u00f3n soprano<\/span><\/span><\/p>\n

IV. Solo II “echo fluctuant d’un D sensuel…” <\/strong><\/em>2017            para marimba<\/span><\/span><\/p>\n

V. Trio “Der Klang der Erde” <\/strong><\/em>2015 para fagot, violoncello y percusi\u00f3n<\/span><\/span><\/p>\n

VI. Solo III “points de p\u00e9n\u00e9tration du t]k]” <\/strong><\/em>2018    para percusi\u00f3n corporal<\/span><\/span><\/p>\n

VII. Eindringlicher Satz (String Quartet III) <\/strong><\/em>2020        <\/span><\/span>para cuarteto de cuerda<\/span><\/p>\n

VIII. Solo IV “…flux orgasmiqu de d\u00e9sir…” <\/strong><\/em>2020 para snare drum<\/span><\/span><\/p>\n

IX. Estructura I “…eros sur le bleu” <\/strong><\/em>2016 para ensemble<\/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

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