Tratado de lo inasible
Ungreifbares als Metamodell
25.Apr.2024 // 20:00
Wien, Suena Festival, Studio Moliere
Tratado de lo inasible
PHACE
Elena Gabbrielli, flute
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Maria Mogas Gensana, accordion
Victor Lowrie Tafoya, viola
Roland Schueler, cello
Alexandra Dienz, double bass
Programm
Michelle Agnes Magalhães
Mobile für präpariertes Klavier, 2013 (8’)
Pedro Berardinelli
urbe – em si fechada für Saxophon, Akkordeon, Viola, Kontrabass, 2021 (10’)
Erika Vega
Refractions für Flöte, Cello und Klavier, 2014 (11’)
Arturo Fuentes
Zeitlos für Bassklarinette, Viola und Klavier, 2014 (11’)
Alberto Posadas
Tratado de lo inasible für Kontrabassklarinette, Saxophon, Akkordeon, Cello und Kontrabass, 2013 (19’)
The heart of the program, Tratado de lo inasible by Alberto Posadas, is characterized by the choice of a special sound nature as a compositional starting point. At the center is an intangible and unstable sound that constantly seeks to escape certainty. The primitive, hardly resistant sound element, which can only exist under very special conditions, can only tolerate very slow changes. Five instruments play, often exploring the dark and intangible of the deep sound spectrum. In a similar way, Pedro Berardinelli explores low frequencies in his work urbe – em si fechada, which are often confronted by overlaying other sound materials, such as the continuous motifs of the strings. Unlike before, for her piece Refractions, Erika Vega uses the line-up of “flute, cello and piano”, which is often found in classical music and which characterized several trios by J. Haydn. In contrast to him, the Mexican-born composer deals intensively with the technical playing possibilities of the instruments, with the help of which she pushes the sound into an intangible distance. The use of the prepared piano, which in turn forms the basis of Michelle Agnes‘ work, also contributes to this. The material she uses gives the impression that it was created using electronic means. Mobile conjures up a metal sculpture that produces incredible sounds as it rotates and moves. In addition to sound, time is also an intangible element, which Arturo Fuentes addresses in his work Timeless and contributes to a blurred perception of time.
Metamodelle in Musik
The third edition of the Suena Festival of Contemporary Ibero-American Music places a very renowned composer at the center of its thematic focus. It is the composer Alberto Posadas. Over the years, the Castilian composer has developed a special compositional style that is continually admired by other composers, performers and audiences. Particularly noteworthy is his discussion of metamodels. The term metamodel refers to a higher-level model that describes aspects of lower-level models and their design. A well-known example of his approach to composing with metamodels is his cycle for string quartet Liturgia Fractal, in which he uses fractal models. Specifically, it is about tree-like processes that often occur in nature. Each “segment” of the organism depends on the situation and the size of the previous segment. In general, it can be observed that Posadas often uses non-musical models when composing, with metamodels from mathematics, physics, nature and art repeatedly being used in his works.
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