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UN OLLO DE VIDRO

Year of composition: 2020-21

[In memoriam of Castelao]

Commissioned and dedicated to the Royal Philharmonic Orchestra of Galicia and its conductor, Paul Daniel.

Length: 13 minutes

Scored for: orchestra

Opus 26 - AA262021

Movements:

i. Dramatic opening of an uncertain story

ii. Life - Afterlife

iii. Dance between skulls, bones and a glass eye

Premiere:

First performance was given by Royal Philharmonic Orchestra of Galicia, conducted by Paul Daniel at Galicia Concert Hall, Santiago de Compostela, Spain, March 25, 2021.

Please note:

Study score is purchased, fulfilled in hard copy, and yours to keep. Full set is only available for rental. Please, send us the completed form to sales@aalcaldemusic.com.

 

Full set is licensed per performance. Additional parts are delivered in PDF, and the fixed electronics (when necessary) is free downloaded through a QR code printed on the full score.

Un ollo de vidro.PNG

Study score (11.7 x 16.5)

Price: 
80.00€

Rental (8.3 x 11.7)

Price: 
450.00€

Un ollo de vidro

[Recording coming soon]


 

 

Brief notes:

Commissioned and dedicated to the Royal Philharmonic Orchestra of Galicia and its conductor, Paul Daniel. First performance was given by the Royal Philharmonic Orchestra of Galicia, conducted by Paul Daniel, at the Galicia Concert Hall in Santiago de Compostela (Spain) on March 25, 2021. In memoriam of Castelao.

Un ollo de vidro takes its title from the homonymous short story by Alfonso Daniel Manuel Rodríguez Castelao, published by Editorial Céltiga in 1922. Castelao describes, from a first-person perspective, a macabre, humorous, and ironic story with the afterlife as a background. Characters in the story depict members of every category of human society of the time, filtered critically and satirically. The social status defines their preponderance by money, which is the element that "gives" and "takes" away power. However, in the afterlife, it becomes completely pointless, as death equates the maid and the tyrant, the wealthy businessman and the poor girl who died of love.

This work does not attempt to set the texts programmatically. The conception of the musical gesture is not that presumptuous but metaphorical, approaching the texts from a personal synthesized perspective. Each movement is (re)elaborated with preexisting materials linked to afterlife and/or death. These materials are the first four sounds of the solo-violin part from the second movement of Mahler's "Fourth Symphony" (1901), the Medieval Latin hymn "Dies Irae" (13th century), the "Unanswered Question" by Ives (1908), and the first three sounds of the first theme in "Danse Macabre" by Saint-Saëns (1874), together with "Die Trauer-Gondel" by Liszt (1882) and the first four sounds of "Die Toteninsel" by Rachmaninoff (1908). All these materials are fragmented, regurgitated, and reassembled under the shadow of Ligeti's "Le Grand Macabre" (1977) and "Totentanz" by Adès (2013), obtaining a new completely volatile material, in the manner of a mortuary décollage.

Encargada y dedicada a la Real Filharmonía de Galicia junto a su director titular, Paul Daniel. El estreno corrió a cargo de la Real Filharmonía de Galicia, bajo la dirección de Paul Daniel en el Auditorio de Galicia, Santiago de Compostela (España) el 25 de marzo del 2021. A la memoria de Castelao.

 

Un ollo de vidro (Un ojo de cristal) toma su título del relato homónimo escrito por Alfonso Daniel Manuel Rodríguez Castelao, publicado en 1922 por la Editorial Céltiga. Castelao describe, desde una perspectiva en primera persona, una historia macabra, humorística e irónica con el ‘más allá’ como telón de fondo. Los personajes de la historia representan a miembros de todas las categorías de la sociedad humana de la época, filtrados de manera crítica y satírica. El estatus social define su preponderancia por el dinero, que es el elemento que 'da' y 'quita' poder, pero en el más allá termina por volverse completamente estéril, pues la muerte acaba por igualar a la criada y al tirano, al rico empresario y a la pobre muchacha que muere por amor.

 

Esta obra no pretende presentar los textos de Castelao programáticamente. La concepción del gesto musical no es tan presuntuosa, más bien metafórica, aproximándose a los textos desde una perspectiva personal sintetizada. Cada movimiento se (re)elabora con materiales preexistentes, vinculados al más allá y/o a la muerte. Estos materiales son: los cuatro primeros sonidos de la parte de violín solo del segundo movimiento de la "Cuarta Sinfonía" de Mahler (1901), el himno medieval latino "Dies Irae" (siglo XIII), la "Pregunta sin respuesta" de Ives (1908) y los tres primeros sonidos del primer tema de la "Danse Macabre" de Saint-Saëns (1874); junto con "Die Trauer-Gondel" de Liszt (1882) y los cuatro primeros sonidos de "Die Toteninsel" de Rachmaninoff (1908). Todos estos materiales son fragmentados, regurgitados y (re)ensamblados bajo la sombra de "Le Grand Macabre" de Ligeti (1977) y "Totentanz" de Adès (2013), obteniendo un nuevo material completamente volátil, en la forma de un décollage mortuorio.

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