Woodwind Quintet No.1 (Torre, Salvador)

Contents

Sheet Music

Scores

PDF typeset by composer
SalvaTorré (2015/6/22)

Publisher. Info. Salvador Torré
Copyright
Misc. Notes Please read carefully the General Directions for performance
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PMLP618805-Woodwind Quintet No.1-DIRECTIONS for musicians.pdf

PDF typeset by composer
SalvaTorré (2015/6/22)

PDF typeset by composer
SalvaTorré (2015/6/22)

PDF typeset by composer
SalvaTorré (2015/6/22)

PDF typeset by composer
SalvaTorré (2015/6/22)

PDF typeset by composer
SalvaTorré (2015/6/22)

Publisher. Info. Salvador Torré
Copyright
Misc. Notes Please read carefully the Directions for Performance
Purchase
Javascript is required for this feature.
PMLP618805-1-WindQuintet No.1-Flute.pdf
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General Information

Work Title Quinteto de alientos No. 1
Alternative. Title Quintette à vents No. 1
Composer Torre, Salvador
Movements/SectionsMov'ts/Sec's Four
Year/Date of CompositionY/D of Comp. 1987/2013
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 flute, oboe, clarinet, bassoon, horn

Misc. Comments

Woodwind Quintet No. 1 (1987-2013) "Homm-ages". This Woodwind quintet is a several tributes to the twentieth century composers who were pioneers of various musical revolutions. The work if formed by four musical pieces, each one devoted to one or more composers 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 one thousand years ago. 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 but 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.