Uploaded July 2025 | Updated September 2026, 2 weeks ago
Proyecto Gerhard Ensemble conducted by José de Eusebio. Ananda Sukarlan as the pianist.
I - 0:00
Rueda's "Cadenza" was completed on October 1997, being commissioned by the Ensemble Intercontemporain. It was premiered in Paris on December 4 of that year, performed by said ensemble conducted by Ed Spanjaard with Dimitri Vassilakis as the pianist. The piece is a kind of short concerto allegro for solo piano and eighteen instruments (seven wind instruments, eight string instruments, two percussion instruments, and a harp).
Different compositional methods were employed to create the piece; from forms with impossible perspectives—the "trompe l'oeil" of the final section, where the presto piano describes a line that, as it opens, creates an illusory harmony—to the classical dialogue between piano and instrumental ensemble, and its strong confrontation. The work, of average, if not brief, length, is nonetheless intense. The entire movement, beginning with a cantabile, follows a trajectory, both from the point of view of microform and macroform, based on a single element composed of three notes. This trajectory passes through moments of greater virtuosity where three-note melodies blend with the various voices while trihedral torrents pour and cascade.
The piece thus opens with this first chord of the ensemble. This same chord generates the intervals which, in successive measures, create the three-note element on which the entire work will be based. The introduction of the ensemble follows a long melodic line from the piano, repeating the element generated earlier. The piano develops it by incorporating the same element into the tripartite base, this time amplified in various simultaneous forms. Then the movement again gives way to the instruments integrated one after the other, further developing the same element in a rhythmic or melodic form. This type of treatment is used practically throughout the work but takes on different nuances and characteristics. To contrast with this element, the piano appears with a new marcato, consisting of sequences of semiquaver chords incorporating the semiquaver notes, and launches the dialogue with the strings in a dizzying ascent. The piano then resumes, multiplying the initial pattern (3 x 3), and reaches the final presto in a brilliant and nervous atmosphere.
Picture: Photograph of three sculptures of "Another Place" (2005) on Crosby Beach, created by British sculptor Antony Gormley.
Source: tinyurl.com/ykex4ppo
Unfortunately, the score is not freely available.
Proyecto Gerhard Ensemble conducted by José de Eusebio. Ananda Sukarlan as the pianist.
I - 0:00
Rueda's "Cadenza" was completed on October 1997, being commissioned by the Ensemble Intercontemporain. It was premiered in Paris on December 4 of that year, performed by said ensemble conducted by Ed Spanjaard with Dimitri Vassilakis as the pianist. The piece is a kind of short concerto allegro for solo piano and eighteen instruments (seven wind instruments, eight string instruments, two percussion instruments, and a harp).
Different compositional methods were employed to create the piece; from forms with impossible perspectives—the "trompe l'oeil" of the final section, where the presto piano describes a line that, as it opens, creates an illusory harmony—to the classical dialogue between piano and instrumental ensemble, and its strong confrontation. The work, of average, if not brief, length, is nonetheless intense. The entire movement, beginning with a cantabile, follows a trajectory, both from the point of view of microform and macroform, based on a single element composed of three notes. This trajectory passes through moments of greater virtuosity where three-note melodies blend with the various voices while trihedral torrents pour and cascade.
The piece thus opens with this first chord of the ensemble. This same chord generates the intervals which, in successive measures, create the three-note element on which the entire work will be based. The introduction of the ensemble follows a long melodic line from the piano, repeating the element generated earlier. The piano develops it by incorporating the same element into the tripartite base, this time amplified in various simultaneous forms. Then the movement again gives way to the instruments integrated one after the other, further developing the same element in a rhythmic or melodic form. This type of treatment is used practically throughout the work but takes on different nuances and characteristics. To contrast with this element, the piano appears with a new marcato, consisting of sequences of semiquaver chords incorporating the semiquaver notes, and launches the dialogue with the strings in a dizzying ascent. The piano then resumes, multiplying the initial pattern (3 x 3), and reaches the final presto in a brilliant and nervous atmosphere.
Picture: Photograph of three sculptures of "Another Place" (2005) on Crosby Beach, created by British sculptor Antony Gormley.
Source: tinyurl.com/ykex4ppo
Unfortunately, the score is not freely available.
