Symphony No.1 'Ek' (Torre, Salvador)

Contents

Sheet Music

Scores

PDF typeset by composer
SalvaTorré (2015/5/14)

PDF typeset by composer
SalvaTorré (2015/5/14)

Publisher. Info. Salvador Torré
Copyright
Misc. Notes For all musicians concerning this work is very important to read carefully the 'Directions for performance' before beginning assembly this work
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PMLP609679-First Symphony'Ek'-CONDUCTOR SCORE.pdf

Parts

PDF typeset by composer
SalvaTorré (2015/5/14)

PDF typeset by composer
SalvaTorré (2015/5/14)

PDF typeset by composer
SalvaTorré (2015/5/14)

PDF typeset by composer
SalvaTorré (2015/5/14)

Publisher. Info. Salvador Torré
Copyright
Misc. Notes Read the instructions for performance. Voices are concerning in the first and fourth movements
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PMLP609679-First Symphony-Ek-1st.mt.Constellatio.pdf
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General Information

Work Title Primera Sinfonía "Ek"
Alternative. Title 'Ek' Symphony
Composer Torre, Salvador
Movements/SectionsMov'ts/Sec's four
Year/Date of CompositionY/D of Comp. 1990
Dedication To Cage, Schoenberg, Varèse, Boulez, Messiaen, Berio, Beethoven, Webern, Berg, Bartók, Bach, Reich, Africa...
Average DurationAvg. Duration Variable
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation Symphony Orchestra

Misc. Comments

First Symphony "Ek" for Symphony Orchestra by Salvador Torré is an adaptation or 'exploration' or 'explosion' of a very flexible material coming from five easy pedagogical pieces composed in 1987. The orchestra have to be spatialized in the concert hall. This Symphony consists in 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 but it changes imperceptibly. With all this we find that these procedures existed in other eras of history of music, only under a different light. Each musician plays each of these pieces of (almost) -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.