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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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Resonance and motion take center stage in Allegro Sostenuto. Lachenmann’s “idea of a musique concrète” bears remarkable fruit in Pression and Dal niente.  |
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| With his hyperbass flute, Italian flutist and composer Roberto Fabbriciani embarks on a highly original approach to the issue of melting glaciers. |
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| Compositions such as Piano and Orchestra (1975) or Feldman’s final work for piano, Palais de Mari (1986), are assembled on this CD. |
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