Tlaloques (Torre, Salvador)




MP3 file (audio)
SalvaTorré (2014/12/22)

MP3 file (audio)
SalvaTorré (2014/12/22)

Performers Fernando Dominguez (bass clarinet)
UNAM Orchestra, Berislav Skenderovic (conductor)
Publisher Info. Salvador Torré
Misc. Notes Special position for the orchestra
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Sheet Music


PDF typeset by composer
SalvaTorré (2014/12/22)

Publisher. Info. Salvador Torré
Misc. Notes Special position in the space for the orchestra.
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General Information

Work Title Tlaloques - Concerto for Bass Clarinet and Big Ensemble
Alternative. Title Concerto for Bass Clarinet and Orchestra
Composer Torre, Salvador
Movements/SectionsMov'ts/Sec's one
Year/Date of CompositionY/D of Comp. 2003
First Performance. 2007-06-26
Average DurationAvg. Duration 19 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation solo: bass clarinet
orchestra: flute, oboe, B clarinet, bassoon, horn, trumpet, trombone (tenor-bass), 2 percussion, harp, piano, strings

Misc. Comments

“Tlaloques” in Aztek language, “Tzultacah” “Tlaltsinikeh” or “Chicchan” in Mayan laguages, is not other that the small servants of Tlaloc (The Rain’s Good). They are the 13 rays that represent the multitude like unique organization. They make ceremonies to attract the water. They are those that have been touched by the ray and survive. The thunderclap takes place when one “tzultacah” speaks with another; the ray is the effect of the cut of its stone axes. They are Gods of blue color that live in caves on the hills, connect the nature of Tlaloc with the old Mesoamerican Earth cult. According to the mitico-hitorical legend, the origin of the Mesoamericans towns was the place of the “seven caves or Chicomóztoc”.

From this legend comes the composition of this piece, disposing the instruments spatially in groups, with a soloist as guide in the center. The soloist is triggering or "waking up" the processes one by one, building gradually, by means of a radial system of axes (Teotihuacán) ordering the space ("axis mundi"), like four great pillars around the soloist, or four great Tlaloque sending rain from four corners of the Earth. At first these share a single spectrum (C) gradually this spectrum is moved on from the original one, giving mobility to the tour pillars. Once customized each corner, module or instrumental group, each one plays with their new mobility, settling little by little a modular interchange of spectrums, culminating in accelerando spatial mouvement in spiral. That work was composed with the support of the National System of Creators of Art of Mexico.