Year of composition
The first two movements have a post-symbolist aesthetic with features such as natural harmony, based on the physical-harmonic phenomenon, bitonality, the superposition of textural layers, symmetrical textures … all bound together with a certain sense of continuity between sections by a hypnotic atmosphere. In the second movement, there are also fragments of pure improvisation such as the entrance of the clarinet with a discursive continuity which deliberately contrasts with the melodic disconnection present in the superimposed material for cello and piano, with shapes that illustrate a strong geometric visual component. The third and fourth movements, in Custombrist style, display the surrounding elements of the author’s geographical and artistic scope.
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