Sinfonía 3 "OCHOMILES"

 Piccolo

Flute 1, 2

Oboe 1, 2

English Horn

Bassoon 1, 2

Eb Clarinet

Bb Clarinet 1, 2, 3

Bass Clarinete

Alto Saxophone 1, 2

Tenor Saxophone 1, 2

Baritone Saxophone

• 

Horn in F 1, 2, 3, 4

Flugelhorn 1, 2

Bb Trumpet 1, 2

Trombone 1, 2, 3

Bass Trombone

Euphonium in C 1, 2

Tuba in C

• 

Violoncello 

Double Bass

• 

Organ

• 

Timpani

Percussion 1

(China Cymbal, Snare Drum, Wind Chimes, Suspended Cymbal, Hi hat, High Bongo, Tambourine, 2 Toms, Whip)

Percussion 2

(Pair of Cymbals, Tam tam, High Tom, Bongos, Vibraslap, Hi hat, Suspended Cymbal, Wood Block, Triangle, Bass Drum, China Cymbal)

Mallets 

(Xylophone, Tubular Bells, Vibraphone, Glockenspiel, Marimba)

The Symphony 3 "eight-thousander" is a work in 4 movements, although it is actually subdivided into 14 mini-movements representing the 14 highest mountains in the world that exceed 8000m in altitude, ordered from shortest to longest distance above sea level, and numbered in reverse order from XIV to I. 

The work is written for Band with organ, which represents the grandeur of the mountains in their ascent, as each new peak is higher. 

I Mov.

Shisha Pangma - Gasherbrum II - Broad Peak - Gasherbrum I.

XIV Shisha Pangma. It is the lowest eight-thousanders and is one of the most dangerous, and the most isolated from the rest, hence the orchestral contrast with the other peaks, which gives the beginning of the work hard, dissonant and shocking. It is the only eight-thousander located entirely in China.  

XIII Gasherbrum II. The prolonged constancy of its ascent makes repetitive music predominate on this mountain. It is the lowest peak of its range, within the Himalayas.

XII Broad Peak. Within the same mountain range as the previous one, called Karakorum, it stands out for its very wide peak, in the shape of a plain. It is located on the border of Pakistan with China. 

XI Gasherbrum I. This mountain has several meanings, being the "hidden peak", "Shining Wall" referring to its most visual part, which finally summarizes in its toponymy as a beautiful mountain. Hence it is with calm and beauty that this first movement of the Sinfonia ends.

II Mov.

Annapurna - Nanga Parbat - Manaslu

X Annapurna. "Goddess of plenty", representing good health, food and cuisine, it is a 55km massif that is in the middle of a natural park, full of hiking trails, canyons and featuring multiple routes to the summit. Annapurna was the first eight-thousander to be climbed to the summit.

IX Nanga Parbat. Its view is very vertical, and is characterized by having a very snowy summit, surrounded by green in the nearby valleys. The south face is the biggest wall of the planet (Rupal), and it is one of the biggest slopes in the world. It is also called the naked mountain. In the last chord will enter for the first time the organ.

VIII Manaslu. Coinciding with the incorporation of the organ, the lack of oxygen plus the spirituality will be taking relevance in the work from this point. The meaning of Manaslu is very spiritual, since it means "soul". This second movement ends with the organ solo, linking with the III movement.

III Mov.

Dhaulagiri - Cho Oyu - Makalu

VII Dhaulagiri. To the solo organ enters the Band describing this mountainous massif, which is characterized by being surrounded by rivers and tributaries, as well as the Kaligandaki gorge, the deepest in the world. Hence the cut and horizontal linearity of its main motif.

VI Cho Oyu It is considered the easiest eight-thousanders to climb, due to its moderate slopes and nearby mountain ranges. It is even considered as a summit of passage. Hence the brevity of this fragment.  

V Makalu It has a quasipyramidal summit, very well defined by its four slopes, and its nickname is the black mountain, because of the narrow and dark corridors and gorges that require its ascent. This is reflected in the appearance of a very vertical theme, in A minor, which will be repeated several times in a uniform manner by all the instruments of the band, with organ. This leads to a very conclusive finale with picardy triad. 

IV Mov.

Lhotse - Kangchenjunga - K2 – Everest

IV Lhotse The IV movimento represents both the spiritual and geographical summit of the piece, hence it has a more musico-formal than descriptive structure. It begins with reflective double-calderon of the whole band, and with a Lento theme that represents Lhotse as the beginning of a common path with Everest, which, in fact, they share. 

III Kangchenjunga Here we retake the themes of the I and II movement, as a reexposition, since it represents the compendium of 5 small peaks that form it, highlighting the different rhythmic patterns sounding at the same time. That will be marking the beginning of the end, until the organ is doing its second most important cadenza, which will serve as a link to solo with the K2.

II K2. Here the band will break up the organ and all of the above, due to the abrupt nature of this mountain, with organ sounds with more trumpets and reeds. It is perhaps the most dangerous peak and will take us to the summit quickly because of its verticality, as a bridge to the last peak.

I Everest. In a totally announcing way, the band will enter with a new thematic and harmonic material, which will make us observe from the base camp the views of the final summit, but not before passing through the most important cadenza of the organ in the work, cadenza which will serve us again as a link with the coda, in a grandiose ending.