"Somewhere I read that Luis Buñuel, at the premiere of his film L'ÂGE D'OR went up to the stage and said: "this is my film L'ÂGE D'OR, if you think it's strange, life is much more strange". "Music for a Liquid Theater" (2018) As in many other works of mine, musical space is developed as an important aspect of composition; when performed in a concert hall, some instruments have a special disposition, violin is in the left corner and violoncello in the right corner of the stage, while flute and clarinet play from the other corners behind the audience. Abreviaturas (1999), is a very special work for me, with no dynamics -the whole work in pianissimo-, no effects, almost no timbre, only duration and pitch (rhythms and notes). "Música para contemplar la evolución de una ola a cámara lenta" (2012), as strange as it may seem, the title -Music for contemplating the evolution of a wave in slow motion- came to me as I was watching a documentary on tv; there was a fantastic image of a wave from the inside moving in slow motion, like a living sculpture made of soft glass. "La Memoria del Agua" (1995), On the days I was working on both pieces, I remember the deep impression that I received from the Ives Klein retrospective at the Reina Sofía Museum in Madrid." (César Camarero)
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"Somewhere I read that Luis Buñuel, at the premiere of his film L'ÂGE D'OR went up to the stage and said: "this is my film L'ÂGE D'OR, if you think it's strange, life is much more strange". "Music for a Liquid Theater" (2018) As in many other works of mine, musical space is developed as an important aspect of composition; when performed in a concert hall, some instruments have a special disposition, violin is in the left corner and violoncello in the right corner of the stage, while flute and clarinet play from the other corners behind the audience. Abreviaturas (1999), is a very special work for me, with no dynamics -the whole work in pianissimo-, no effects, almost no timbre, only duration and pitch (rhythms and notes). "Música para contemplar la evolución de una ola a cámara lenta" (2012), as strange as it may seem, the title -Music for contemplating the evolution of a wave in slow motion- came to me as I was watching a documentary on tv; there was a fantastic image of a wave from the inside moving in slow motion, like a living sculpture made of soft glass. "La Memoria del Agua" (1995), On the days I was working on both pieces, I remember the deep impression that I received from the Ives Klein retrospective at the Reina Sofía Museum in Madrid." (César Camarero)
