This piece seeks to reflect on the thoughts and worries that come and go, when you travel by train, while linking up with others, with those of other passengers, even, who get on and off the train, bringing their own thoughts, ever more remote, with them, with their gaze lost in infinity. Finally, the train arrives at the station and the travellers...
The work is inspired by the magical night of Saint John and proposes to let us take a little trip to the world of emotions, from the calm to joy, the fullness to melancholy, the party to a reflection more intimate.
Benejam was an excellent violinist and also an excellent composer. It is therefore hardly surprising that the works he dedicated to this instrument are of the most exquisite quality and discernment.
The variable order of the twelve tones of the chromatic scale is very present in the construction of both preludes, but simultaneously maintains an harmonic cadential substrate.
The work Corn d'or comprises quick, compressed sounds whose density means they can be listened to en masse. In the slow moments the mass deflates and softens, the sound expands and separates, breaking off in the form of phrases, or isolated sounds, with different properties, directions and levels.
Two themes inspired by Verdi serve to create different variations and juxtapositions, which never appear in the same way.
The work is based on a summary of four songs from the Llibre Vermell (Red Book) by Montserrat.
The work Au pays de la soif et de la peur is wonderfully expressive and unfolds in slow movements, making use of the full breadth of the two instruments’ ranges. Although he does not seek virtuosity, the performance of the work demands the utmost of performers, and above all, requires an extreme rapport.
Harmonices Mundi deals with the fugue in all its possibilities, often on its own, but also with preludes, associated to dances or within a partita. In this volume, the first five fugues are presented directly (in three or four voices) and it is only in the last piece that the fugue is presented with a prelude.
What is clear is that Jep Nuix masters on the most varied composition languages. In this work he uses the classical writing with absolute precision (over concrete indications on shapes, volumes..., “out of time” attacks when there is no a metronomic time reference... all in the search of the effects exposed in the titles).
Signe d’anells (2007) responds to the particular language used by Mestres Quadreny as well as the writing techniques which he has been faithful to all his life. This eloquent creation is supported by dodecaphonic elements but these are not only the unique elements...