(Espagne - Spain)
Épodo * [saxophone ténor solo / solo tenor saxophone] Crónica para entenderse con lo antiguo * [saxophone baryton et pédalophone / baritone saxophone & pedalophone] Dhamar * [saxophone alto et accordéon / alto saxophone & accordion]
[saxophone ténor solo / solo tenor saxophone]
Crónica para entenderse con lo antiguo *
[saxophone baryton et pédalophone / baritone saxophone & pedalophone]
[saxophone alto et accordéon / alto saxophone & accordion]
avec la participation de:
with the participation of:
Esteban Algora, accordéon/accordion
* Création / World premiere
Andrés Gomis Mora appears with funding from:
Centers for Diffusion of the Contemporary Music (Spain)
National Institute od the Arts and the Music (Spain)
|Andrés Gomis Mora received his musical education at the Madrid and Alicante's conservatory, specializing later on contemporary music with Jean-Marie Londeix, recognized performer as well as pedagogue. His interest for the pedagogy has take him to realize diverse courses regarding the pedagogy innovation, such as the given by the Faculty of Science of Education at the University Complutense of Madrid, the Musical Room of the University Alcalá de Henares and the Board of Education and Culture of the Madrid Community.
As a teacher, he has given courses in different cities, pointing up the permanent Seminaries that he is giving at Galicia s Auditorium of Santiago de Compostela, Cullera (Valencia) and Zaragoza. He teaches saxophone in the Professional Conservatory "Angel Arias Maceín" of Madrid and also at the Musical School of High Studies of Santiago de Compostela. Ag is a member of the International Saxophone Committee.
Regarding his artistic activity, he has collaborated with the Spanish Radio Television Orchestra, National Spanish Orchestra, Madrid Symphonic Orchestra and the Madrid Community Orchestra and Municipal Band of Madrid. Also to bring out his participation on the "II Journey of Granada Contemporary Music" and "IV Festival of Spanish Music of the 20th Century of Leon", the performances with the Group 21 of Saxophones at the Art Center Reina Sofia and the Circle of Fire Arts of Madrid, and his recitals at the Juan March Foundation at Madrid and the Palau of Music in Valencia.
From his relationship with the young generation of composers and his interest for the diverse musical tendencies and modern aesthetic has come some works which have been dedicated to him, with a common eagerness in all of them: "that the saxophone serves as a diffusion of the new compositional language".
Nowadays, excepting the context of culture and character proper to each country, the Spanish composer is no different to his European counterpart with regards to his attitude towards composing music.
From an aesthetic point of view, the most remarkable aspect of recent Spanish music is the broadening of style, which has yielded a new musicality after years of the expressive ardour and conceptual radicality of preceding generations. If throughout the seventies the French spectral trend, or the diametrically opposite German neoromantic movement -to cite but two very well-known schools - were represented internationally as tendencies, in Spain, with the exception of some elements in certain works and composers, it was not until recently that a "tendency" as such would become manifest.
This situation, which was fairly generalized among leader countries, was, apart from a natural reaction to the preceding moment, a legitimate desire to communicate with the public; the logical consequence of a new evolution of musical technique and language. However, this evolution was of a radically opposite nature to that of the avant-garde which had prevailed until shortly before and which the most eminent critics and theorists had defended vehemently and dogmatically as the only one possible.
Today the issue is more one of a recovery from a new angle of certain musical principles and thoughts (aspects relating to harmony and form, etc.) which no longer tend to be considered, as they were until relatively recently, as obsolete or non-viable, or in the worst of cases, as exclusively the components of forms belonging to bygone ages. By this I mean that now they are considered as general, a temporal and universal concepts that have a place in the field of any aesthetic or expressive impulse. Concepts proper to musical language, such as harmony, chord or modulation, present under various forms in the musics of all ages, are rethought today by young composers without any kind of contradiction, using a modern language and a musical technique of a new sensibility and expression.