||Salvador Torre and Clara Novakova, Paris 1988
||In the recording there is two versions for Crossnotes (3th. mvt.): Diagonal reading and 'Normal' reading
||Trio de flautas No.2
||Trio pour flûtes No.2
|Year/Date of CompositionY/D of Comp.
||To Cage, Schoenberg, Varèse, Boulez, Messiaen, Berio, Beethoven, Webern, Berg, Bartók, Bach, Reich, Africa..
|Average DurationAvg. Duration
|Composer Time PeriodComp. Period
||Piccolo, Flute in C, Alto Flute in G, Bassflute
||Adaptation of Homm-Ages
Flute Trio Nr. 2 is made by a very flexible material who generates many kind of music ensembles. The musicians have to be spatialized in the concert hall. This Trio is a several tributes to the twentieth century composers who were pioneers of various musical revolutions. They are little musical pieces each one devoted to one or more composers and applying the technique that each composer utilized, for example: Cage utilized star maps to compose, hence a constellation is formed, Messiaen was inspired by the birds singing and their intricate rhythms, Berio used a novel space-time writing but that space-time was already inherent in musical notation invented by Guido D'Arezzo in the year one thousand. Reich uses a melodic cell repeated ad infinitum. Each musician plays 'independent' so that each piece or movement is a kind of "collage" in which the piece overlaps itself, this overlap must be set to the sound space thanks to which musicians are placed in different parts of the concert-hall spreading sounds among the public providing distance and location of sound sources in three dimensional space