||Salvador Torré and Clara Novakova, Paris, 1988
||In the recording there is two versions for Crossnotes (3th. mvt.): Diagonal reading and 'Normal' reading
Scores and Parts
||Cuarteto de flautas No. 2
||Quatuor de flûtes No.2
|I-Catalogue NumberI-Cat. No.
|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, Bass Flute
||Adaptation of Homm-Ages
Flute Quartet No.2 'Homm-ages' - the flutists have to be spatialized in the concert hall. Homm-ages are 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 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 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 a three dimensional space.