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| Canary folklore: the Concierto Atlántico is based on two motifs that have been "united with the almost obsessive rhythm of the tango herréno, an essential element of the oldest folk music of the island." The piano piece Latir Isleño, on the other hand, is based on a well-known Canarian folksong, Arrorò. But traditional Canarian music is merely the starting point for these works, not their destination; their structure, like that of La Luz del Aire (The light of air), is determined by exact mathematical proportions, which also predetermines the textures used in each composition. Soledad (dedicated to Narciso Yepes) has been "inspired by the composer's impressions of the Holy Week in Cuenca, in particular of the traditional procession for the Virgen de las Angustias, the town's patron saint." The composition alternates between rigorousness of reflection, grief and purely rhythmically motivated parts. Zulema de la Cruz sets out to till a wide field – and successfully avoids any lapses into superficial folklore. |
1CD | Orchestral | Contemporary | Special Offers |
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In search of the inconceivable: with immense intensity Brass approaches the question of existence itself, of the line that separates being from disappearing.  |
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| Ekphrasis [Continuo II] (1996), a musical homage to American architects, and Coro (1975/76), Berios renewed quest for the folk song. |
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| [...] Hudry researches very early on, a form of vigorous interaction between the performer and the machine – an axis of his compositional output. |
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