VÉRTIGO Y LLAMA

Piccolo

Flute 1-2 ( Ocarina in C)

Oboe 1-2 (Ocarina in C)

English horn (Slide whistle)  

Basson 1-2

Eb Clarinet (Slide whistle)  

Clarinets 1-2-3

Alto Clarinet (optional)

Bass Clarinet

Soprano Sax.

Alto Sax. 1-2

Tenor Sax. 

Baritone Sax.

Trumpet 1-2-3-4 (Bb)

Horn (F) 1-2-3-4

Trombone 1-2

Bass Trombone

Euphonium (C) 

Tuba 

Double Bass 

Percusión (5)

- Timpani: Timpani (4), Expanded Polystyrene (2 fragments), Triangle small, Suspended cymbal (sizzle)

- Percussion 1: Marimba, Glockenspiel, High Tom-Toms (3), Suspended Cymbal (China type)

- Percussion 2: Vibraphone, Bongos (2), Wood-blocks (5), Snare drum, Mark-tree (shared with Perc. 3), Suspended cymbal (crash)

- Percussion 3: Tubular Bells, Congas (2), Low Tom-Toms (3), Mark-tree (shared with Perc. 2), Tam-Tam (medium), Crotales (Tuned C-D#-E-A)

- Percussion 4: Bass drum, Tam-Tam (large), Suspended Cymbal (ride), Lion´s roar, Snare drum, Trinagles (2, large and medium).

The starting point of this work is the poem "El cántaro roto" by Octavio Paz. The richness of the images of the text and its expressive load are a source of resources from which the sound, the discourse are outlined and the formal structure of the work is organized. Although its language is fundamentally spectral, the sound material takes as its starting point the medieval polyphonic song "Imperayritz de la ciutat joyosa" from Llibre Vermell de Montserrat in reference to that "return to the origin" of which O's text speaks. Peace This song serves as a constructive element in the generation of spectral harmony and melodic figures, while for the construction of discourse and gestural material, various generative procedures such as L-Systems have been taken.