Quincunce (Torre, Salvador)

Sheet Music


PDF typeset by composer
SalvaTorre (2017/5/1)

Publisher. Info. Salvador Torre
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General Information

Work Title Quincunce
Alternative. Title Quincunce - Concerto Grosso for Wind Ensemble and Four Orchestras
Composer Torre, Salvador
I-Catalogue NumberI-Cat. No. IST 62
Movements/SectionsMov'ts/Sec's 1 movement (3 sections)
Year/Date of CompositionY/D of Comp. 2016
First Publication. 2017
Average DurationAvg. Duration 26 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation Solo: tenor saxophone (B), baritone saxophone (E), 2 trumpets (B), trombone, bass trombone
Orchestra I: flute (also piccolo), oboe, horn,
6 violins, 2 violas, 2 cellos, 2 basses
Orchestra II: flute (also piccolo), English horn, clarinet (A), bassoon, horn (F),
7 violins, 3 violas, 2 cellos, 2 basses
Orchestra III: clarinet 2 (B), contrabassoon, horn (F),
6 violins, 2 violas, 2 cellos, 2 basses
Orchestra IV: flute (piccolo), oboe, clarinet (B), bass clarinet (B), bassoon, horn (F), tuba,
7 violins, 3 violas, 2 cellos, 2 basses
*A largish orchestra with 3/3/4/3 4/0/0/1 and strings 13/13/10/8/8 could split into the required groups.

Navigation etc.

  • "Quincunce" Concerto Grosso for Wind Ensemble soloists and Four orchestras
    Salvador Torré 2016
  • As Gaston Bachelard points out, "Time is nothing more than a discontinuous series of moments that are always new, unrelated to one another." The Horizontalities of time and space, the time that is not measured, indefinite, free, nomadic, are delimited or framed by Verticalities; time-space striated, defined, measured, framed or delimiting, dictatorial. These two space-times, Smooth and Striated, form dialectical fields of ambivalence that, through time, becomes polyvalent. Thus, rhythms, textures, orchestral masses of different specific weights are placed in a dialectical game in which the interstitial aspect of microtonality is added. The soloists group is placed in the "empty" space, interstitial, of the four orchestras, resulting in occupying the entire spectrum of micro-pitches, therefore in a considerable increase in the resulting sound mass. Within this mass one can distinguish the small rhythmic details that constitute it, to organize this rhythmic structure was used the Fibonacci series to give a more organic sense, building this long piece in a kind of living being which has a body and that it breathe.
  • The audience should be placed in the centre of the scene in order to have an immersive experience of points in space, distances, colours of individuals and groups. Because each instrument or group of instruments is at different distances from the listener, the sound travels to him from different micro-distances in the space, each with different intensities, which makes the listener immersed in a vault, in a universe of points of space-time, immersed in this gigantic Quincunxes of possibilities.