Year of composition
Written during the summer of 2020, Blues-Tango, for piano, two violins, viola, cello and double bass, seeks the shared participation of all instruments, combining the accompanied melody and the contrapuntal and the harmonic textures, and trying to find a fusion or an alternation between the concept of grouping soloists and that of a chamber orchestra. It is very important to emphasize this contrast between the moments in which the instruments participate as soloists and dialogue with each other, and those in which they do so jointly seeking a timbre fusion of quality. This work is partly inspired by another shorter work with the same title, Blues-Tango for violin and piano, which was premiered on November 24, 2015, at the Metropol Theater in Tarragona, by violinist Oksana Solovieva and pianist Josep Buforn.
Blues-Tango is conceived in a single movement with several sections thematically contrasted with changes in meter, tempo and dynamics. The solo piano begins the first theme in a cheerful blues rhythm and a very syncopated rhythm. The violin joins and then the rest of the instruments, bringing more intensity. Next comes a section in which the character of tango predominates and presents two new themes: one more sensual and melodic, in which the violin is protagonist and the rest of the instruments accompany, and another theme that is of a much more passionate character in which the complicity of all instruments is shared. After this second section comes the central part of the piece, which presents an essentially melancholic and romantic theme, with touches of a sad waltz. Here, the melody alternates with a texture that seeks the timbre fusion of all the instruments. This central section gives way to a fourth short section in which a new theme develops in a jazzier style. Finally, the first theme is re-exposed, appearing timidly and then gaining strength and richness contrapuntally and harmonically in a crescendo that leads to a euphoric ending.