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 "Sinamay" was completed in April 1990, being jointly commissioned by the Centre for the Diffusion of Contemporary Music of Spain and Ad van't Veer, the director of the Middelburg Festival, where a great performance of "Una Leyenda" had been heard the previous year, elements of which are taken up in Sinamay. It was written for the Dutch contemporary classical music group Xenakis Ensemble, dedicated to both the ensemble and its then director Diego Masson. Its orchestration; piano (or harpsichord), clarinet, flute, oboe, violin and violoncello, imitates that of Manuel de Falla's famous Concerto.
The piece is broadly structured in three main sections, and compared to his earlier works, harmony takes centre stage. The beginning is based on the already familiar brilliant, agile, and virtuosic style, which is also somewhat "Sciarrinesque," with an extremely virtuosic and difficult piano part. A more metrical and percussive "jazzy" episode is interrupted in its middle by a long solo cadenza, but is then followed by a contrasting "slow" section with successive beautiful and exuberant piano chords (almost a three-period chorale), surrounded by the subtle agitation of the other musicians. The last part begins very abruptly, initially metrical and percussive but soon resuming the exuberant endless series of rapid runs and trills of the beginning, leading to the final thunderous crash.
Picture: "Ciphers and Constellations in Love with a Woman" (1941) by the Spanish painter Joan Miró.
Source: Recording's booklet.
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 "Sinamay" was completed in April 1990, being jointly commissioned by the Centre for the Diffusion of Contemporary Music of Spain and Ad van't Veer, the director of the Middelburg Festival, where a great performance of "Una Leyenda" had been heard the previous year, elements of which are taken up in Sinamay. It was written for the Dutch contemporary classical music group Xenakis Ensemble, dedicated to both the ensemble and its then director Diego Masson. Its orchestration; piano (or harpsichord), clarinet, flute, oboe, violin and violoncello, imitates that of Manuel de Falla's famous Concerto.
The piece is broadly structured in three main sections, and compared to his earlier works, harmony takes centre stage. The beginning is based on the already familiar brilliant, agile, and virtuosic style, which is also somewhat "Sciarrinesque," with an extremely virtuosic and difficult piano part. A more metrical and percussive "jazzy" episode is interrupted in its middle by a long solo cadenza, but is then followed by a contrasting "slow" section with successive beautiful and exuberant piano chords (almost a three-period chorale), surrounded by the subtle agitation of the other musicians. The last part begins very abruptly, initially metrical and percussive but soon resuming the exuberant endless series of rapid runs and trills of the beginning, leading to the final thunderous crash.
Picture: "Ciphers and Constellations in Love with a Woman" (1941) by the Spanish painter Joan Miró.
Source: Recording's booklet.
Unfortunately, the score is not freely available.
