Performances [show]
Recordings
Publisher Info.
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Salvador Torré
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Performers
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Salvador Torre and Clara Novakova
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Copyright
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Misc. Notes
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Please note that in the recording there is two versions for Crossnotes (3th. mvt.): Diagonal reading and 'Normal' reading
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Publisher Info.
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Salvador Torré
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Performers
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Orquesta de Cámara de Bellas Artes (OCBA), 11/23/2014, Mexico City
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Copyright
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Publisher Info.
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Salvador Torré
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Performers
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Students Orchestra from National Conservatory of Mexico. 05.25.2015
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Copyright
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Misc. Notes
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To appreciate the spatialization of this piece, you should be placed in the middle of the sound space
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Sheet Music
Scores
Publisher. Info.
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Salvador Torre
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Copyright
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Misc. Notes
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Is very important to read carefully the 'Directions for performance' before beginning assembly this work
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Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Es muy importante leer atentamente las 'instrucciones de ejecución' antes de emprender el montaje de esta obra
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Parts
Constellatio (No.1)
⇒ 17 more: Voice(s)-Low • Flute(s) • Oboe(s) • Clarinet(s) • Bassoon(s) • Horn(s) • Trumpet(s) B♭ • Trombone • Tuba • Percussion-mixed (1 player) • Vibraphone • Piano • Violin(s) I • Violin(s) II • Viola(s) • Cello(s) • Double Bass
Publisher. Info.
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Salvador Torre
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Copyright
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Misc. Notes
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Musicians must be spatialized all over the concert hall
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Puzzle (No.2)
⇒ 12 more: Oboe(s) • Clarinet(s) B♭ • Bassoon • Horn(s) • Trumpet • Trombone • Tuba • Xilophone • Piano • Violins I and II • Cellos • Double Basses
Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Musicians must be placed on all over the space of the concert hall
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Crossnotes (No.3)
⇒ 8 more: Clarinet and Bassoon • Trumpet in B♭ and Horn in F • Trombone and Tuba • Piano • Marimba • Violins I and II • Violas • Cello and Double Bass
Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Musicians h=must be placed all over the concert hall
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Sandclock (No.4)
⇒ 7 more: Oboe and Trumpet B♭ • Bassoon and Horn in F • Trombone and Tuba • Piano and Marimba • Violins I and II and Soprano Voice • Violas I and II and Mezzo-soprano Voice • Cello, DoubleBass, Tenor and Baritone Voices
Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Musicians must be placed all over the concert hall
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Arrangements and Transcriptions
Complete
For String Orchestra (Torre)
Arranger
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composer
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Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Please read carefully the instructions
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Arranger
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composer
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Publisher. Info.
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Salvador Torré
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Copyright
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Misc. Notes
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Please read carefully the instructions for performance. Please download the Conductor Score from here.
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For 13 Instruments (Torre)
⇒ 12 more: Oboe • Clarinet (B♭) • Bass Clarinet (B♭) • Bassoon (also Contrabassoon) • Percussion 1 • Percussion 2 • Piano • Violin 1 • Violin 2 • Viola • Cello • Double Bass
Publisher. Info.
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Salvador Torre
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Copyright
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Misc. Notes
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Please read the General Instructions for performance downloadable here
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General Information
Work Title
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Homm-Ages for any group of instruments
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Alternative. Title
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Homm-Ages para cualquier grupo de instrumentos
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Composer
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Torre, Salvador
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Internal Reference NumberInternal Ref. No.
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IST 29
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Movements/SectionsMov'ts/Sec's
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4 sections
- Constellatio
- Puzzle
- Crossnotes
- Sandclock
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Year/Date of CompositionY/D of Comp.
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2013
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First Performance.
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2014-11-23
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Dedication
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To Cage, Schoenberg, Varèse, Boulez, Messiaen, Berio, Beethoven, Webern, Berg, Bartók, Bach, Reich, Africa...
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Average DurationAvg. Duration
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Variable Duration
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Composer Time PeriodComp. Period
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Modern
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Piece Style
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Modern
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Instrumentation
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any group of instruments
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Navigation etc.
Homm-ages - for any group of instruments who have to be spatialized in the concert hall.
Homm-ages are 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.