Duration: eight minutes
Premiere: California Institute of the Arts, U.S., 2000
Published by Cayambis Music Press, 2015.
Performed in Desde el Sur, an Evening of Latin American New Music, IDB, Washington D.C., U.S., 2002
Mintcho Badev, Violoncello
Homage to Alba Triana, Banco de la Repúbllica, Bogotá, Colombia, 2007
Named after the medieval form for its constant reference to the call and response of contrasting elements, the piece confronts contrary expressive features, discernible and non-discernable materials, and different harmonic and coloristic palettes.
Perhaps the most notable presence of this antagonistic behavior happens in its texture, organized in two main planes: a foreground consisting of the actual notes played on the instrument; and an equally important background, comprised of elaborations of the foreground notes resonances. Pitch fluctuations of the resonances create a counterpoint-like discourse which destabilizes the perception and behavior of the foreground ideas.
Despite its improvisatory character, all the sounds in the piece are written out, and there are no aleatoric elements on the score.
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