| Movements/SectionsMov'ts/Sec's | Four |
|---|---|
| Composition Year | 1987/2013 |
| Genre Categories | Quintets; For flute, oboe, clarinet, bassoon, horn; Scores featuring the flute; |
General Directions for performance
*#382886 - 0.09MB, 5 pp. - (-) - !N/!N/!N - 381×⇩ - SalvaTorré
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SalvaTorré (2015/6/22)
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Flute Score
*#382887 - 0.25MB, 4 pp. - (-) - !N/!N/!N - 336×⇩ - SalvaTorré
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SalvaTorré (2015/6/22)
⇒ 4 more: Oboe Score • Clarinet Score • Horn Score • Bassoon Score
Oboe Score
*#382888 - 0.24MB, 4 pp. - (-) - !N/!N/!N - 124×⇩ - SalvaTorré
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SalvaTorré (2015/6/22)
Clarinet Score
*#382889 - 0.25MB, 4 pp. - (-) - !N/!N/!N - 142×⇩ - SalvaTorré
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SalvaTorré (2015/6/22)
Horn Score
*#382890 - 0.25MB, 4 pp. - (-) - !N/!N/!N - 142×⇩ - SalvaTorré
PDF typeset by composer
SalvaTorré (2015/6/22)
Bassoon Score
*#382891 - 0.25MB, 4 pp. - (-) - !N/!N/!N - 111×⇩ - SalvaTorré
PDF typeset by composer
SalvaTorré (2015/6/22)
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| Work Title | Quinteto de alientos No. 1 |
|---|---|
| Alternative. Title | Quintette à vents No. 1 |
| Composer | Torre, Salvador |
| I-Catalogue NumberI-Cat. No. | IST 84 |
| Movements/SectionsMov'ts/Sec's | Four |
| Year/Date of CompositionY/D of Comp. | 1987/2013 |
| 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 | flute, oboe, clarinet, bassoon, horn |
Woodwind Quintet No. 1 (1987-2013) "Homm-ages". This Woodwind quintet is a several tributes to the twentieth century composers who were pioneers of various musical revolutions. The work if formed by four 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 one thousand years ago. 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 three dimensional space.
