This work is the second movement of Finis Mundi (Op. 26). The adventures of Michel and Mattius go on, this time the story begins at the "Camino", the holy pilgrim route to Santiago de Compostela. They will meet, Lucia who wants to become in a new minstrel, they also encounter with the Galician witches, the "Meigas", and the Three Eyes Fellowship follow their path, of course. Finally they must found the "Axis of the Future" in a church located at the end of the world.
This composition finishes the work “Finis Mundi” (Op. 26). In the last chapter of the book, Michel, Mattius and Lucia travel to England on the trail of the last amulet and the place where the Time’s Spirit must be invoked. Meantime, the Fellowship of the Three Eyes and their allies, try to follow their path for grab all their finding. The adventure finishes at the Stone Circle, guarded by the last Druid. Will the humanity survive for 1000 more years?
This epic march describe the story about the Three Wise Men, who came from Orient to bring some gifts to Jesus when he was born. The march begins with a Fanfare to announce the travel of the Kings. Then we found a very spiritual theme which means the holy reason of the trip. After a variation of the opening fanfare, we have a very dramatic melody to describe the encounter with the King Herodes, who wanted to kill all the new born childs, to kill the new Messiah of the prophecy. The new theme in the minor scale reflects the time when the Jesus was born, anguished and convulsed. But, the appearance of the major relativo in the middle of the theme, open the hope on the heart of the believers. The final Coda announce that finally, the Three Wise Men arrived to their destination place.
This work is a commision from Angel Escutia Martínez, conductor of the Societat Musical "La Primitiva" de Rafelbunyol (Valencia, SPAIN). He told to the composer that he was looking for a "non typical" pasodoble. He'd like to play a work with an English Horn solo on the first theme, a Horn solo on the Trio, a final Coda with a lot of "false ends", mixed two and three beat measures, etc. Even he suggested the title. So was born this music, from a conversation in a bar, like all good stories.
This flute Concerto is a great variation on a Spanish Folk Song titled "La Tarara", which could be listened with harmonic, rhythmic and melodic variations throughout the composition. The music contains a very lyrical cadenzas, some spanish flavour in the harmony, and a final dance which the flute share with all the band.
This work is a commision from the Pihalni Orkester Zelezarjev from Ravne (Slovenia), and their conductor, Gregor Kovacic. The music is composed with a very little motive of the "Lamentatio IV", by the sloveninan composer Jacobus Gallus (1550 - 1591). This isn't a describing or programatic work, just a continuous variation of this little motive.
Although the title of the work could be suggestive, this isn’t a descriptive piece. Maybe, some myths about the veneration of the Nuria’s Valley Virgin (Girona, SPAIN), have influenced and (in some way), helped to take shape the music in some sections. For example, the character of Sant Gil, who according to the local tradition, was born in Athens and lived in a cave around the Núria’s Valley making Religious Icons. This journey and the later search of his relics have inspired the central section (m. 33- 210), but just as an sounded image, not as a story. And the religiousness, the veneration of the Virgin it’s described at the final part of the work (m. 221 to the end). But as we said before, this isn’t a programmatic work, and the title it’s because the utilization of the “Goigs a la Mare de Déu de Núria” (local anthem to the Virgin) as a principal element to compose the music.
This Concerto is a commission from Bruno Pasoal, a Portuguese Euphonium player. All the music is a great variation of the euphonium solo from Templar Suite second movement (titled Baphomet), that the author wrote specially for Bruno. So, this solo appears in the first section of the work (bars 52 - 69), as the beginning and source of all melodies. The work tries to combine and explote the lyricism and the virtuosity of the Euphoniu solo part, interweaving the music speech with the rest of the Band.
This symphony is a commission from the "Associació Musical Ciutat de Benicarló" (SPAIN) and is inspired on the novel "The Composer of Storms" by Andrés Pascual. Instead of simply describe the story in a programatic way, the composer tries to work with the several musical references of the book, and transfer it to the music. For examle, the quest of the "Melody of the Soul" (which shape the entire novel) take form in a set of 13 sounds. The appearece of motivs by M. A Charpentier and J. B. Lully in this music is related to they role in the story. And the description of a "cesealess rhythm" at the arrival to the Moon Island, encourage the composer to include a characteristic rithm that we can listen throgout the three non interrupted movements.
This work is a commission from the Municipality of Abrantes (Portugal). They asked to the composer to do an Overture for the young musicians of the Academia de Músicos de Abrantes. The composer take a little motive of an old work by a local composer titled “A lenda de Abrantes” composed by Guilherme Silva, and with it, he created this overture with the typical form in three parts.
"Metamorphose from the Lake" it's a grade 4 work, commissioned and dedicated to the EMV Stadskapelle Villach and their conductor, and friend Gregor Kovacic. In this work, I've worked with motivs from Mahler's Symphonies 4 to 8, who the genius composed in his house near to lake Wörthersee. I've tried to do a development starting on the motiv of 4th symphony, transforming it to arrive to the motiv of the 8th symphony. It's been a challenge work with Mahler's music!!!
This work is a commission from the Musikverein Heitersheim (Germany) and their conductor Ruediguer Mueller. The composer has inpired in three sights of this small city located in the Black Forest to build this descriptive seeting in three movements. The first one, titled “Villa Urbana” is the city’s Roman Museum; the second movement (“Surrounded by fields”), tries to describe the quiet and beauty of the sourroundings of Heitersheim. Finally, the last movement titled “Malteser City” réflex the relationship with the Malta Order, very important in the region’s history.
This CONCERTO FOR WINDS has been thought as a piece of absolute music in three movements (Although there is no division between them). The first movement is a Sonata form with a customary opening movement form; the second movement is
in a ternary form ABA slow and lyrical in some way; and the third movement is in a rondo form with a final and bright coda (ABACA-Coda).
All the melodic and harmonic material has been taken from the IV mode of limited transposition by O. Messiaen.
This notes set is developed in a free way, both harmonically and melodically, and is transformed with the classical process of inversion, retrogression or fragmentation. This piece combines different harmonic environments, but always inside the mode’s parameters.
A Young Symphony returns to the fundamental principles of instrumental symphonic writing, with a technical difficulty of Grade 3 (easy-medium). Furthermore, the work aims to avoid the numerous and abundant clichés used in this kind of repertoire for wind band, with a classical symphony structure and a cyclic development of the motivic material throughout the 4 movements in a reduced format, appropriate and accessible for young bands. As mentioned above, the four movements outline the “classic symphony” structure:
- I: Allegro-Sonata Form
- II: Ternary Form ABA
- III: Rondo Form (Scherzando)
- IV: Sonata Form
Despite the main harmonic/tonal syntax of the work, it is enriched due to the use of the scale called as Hungarian Major Scale, while simultaneously making small uses of major-minor modal sonority.
Finally, far from looking a gimmicky language, the motivic development and the counterpoint play an important role throughout this 10-minute work.
Within this Grade 1 work is developed a simple three-note-motive (C-D-G) in a ternary form ABA with an Introduction and a Coda. The title was suggested by my friend James Minnix, since part of the composition process was made during a flight Boston-Chicago.