| Movements/SectionsMov'ts/Sec's | four |
|---|---|
| Composition Year | 1990 |
| Genre Categories | Symphonies; For orchestra; Scores featuring the orchestra |
Conductor Score
*#377770 - 0.44MB, 11 pp. - (0) - !N/!N/!N - 210×⇩ - SalvaTorré
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Directions for all musicians
*#377771 - 0.09MB, 5 pp. - (0) - !N/!N/!N - 97×⇩ - SalvaTorré
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1. Constallatio I.D.A.
*#377774 - 2.01MB, 53 pp. - (1) - !N/!N/!N - 95×⇩ - SalvaTorré
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3. Crossnotes
*#377776 - 2.97MB, 43 pp. - (0) - !N/!N/!N - 51×⇩ - SalvaTorré
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4. Sandclock
*#377777 - 2.88MB, 43 pp. - (0) - !N/!N/!N - 59×⇩ - SalvaTorré
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| Work Title | Primera Sinfonía "Ek" |
|---|---|
| Alternative. Title | 'Ek' Symphony |
| Composer | Torre, Salvador |
| Internal Reference NumberInternal Ref. No. | IST 74 |
| 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 |
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.
