© Esther Cantera
© Esther Cantera

Alberto Posadas — Poética del espacio

Umbrales evanescentes


Does space have a poetic dimension itself, or is it created by the experience of that space? In The Poetics of Space (1957) [Gaston] Bachelard rather than answering these questions prowls around them. The poetic image gives space the property of experience in time. It is not its external magnitude that gives it meaning but rather the fact of inhabiting and experiencing it.

How is space inhabited in a listening process? By the location and positioning of the sonic source? The medium for transmitting the sound? Does it generate new poetic and perceptive relations?

How can space act as driver of a sonic process in time? How can it articulate the musical material and its deployment in time, the distribution of the acoustic space (frequency range), the instrumental density or the speed at which the sound moves?
All these questions around which to prowl, with Bachelard’s book in mind from the outset, are the point of departure for this cycle of ensemble works, the third of which will be premiered at the Acht Brücken Festival in Cologne.

This concertante work for saxophone, French horn, trumpet, trombone and ensemble, modifies the internal space of the solo instruments using instrumental hybridisation processes. The poetic dimension of space is impregnated with the microscopic and mutant world created by such hybridisation and the diverse sonic resources emanating from it. These in turn are expanded spatially by the instruments in the ensemble.

This third work from the cycle, focused more on the internal magnitude of the instrumental space, provides a counterpoint to those preceding it whose dramaturgy are shaped by the spatial movement of the sound and performers.
—Alberto Posadas, 2018

 in Werke
1 May 2019
6 p.m.
Cologne, Kölner Philharmonie Acht Brücken Festival Contretemps UA EA

In his cycle Poética del espacio (Poetics of Space), Alberto Posadas examines the relationship between sound space and space sound. In the third part of this series of works, he studies the architecture of sound production, the instrumental space. That may sound like an experimental laboratory, but the result is impressive, refreshingly lively music. The Austrian Georg Friedrich Haas then expands space to encompass world politics, dedicating his new composition to Elin Ersson, the young Swedish woman whose moral courage prevented the deportation of an asylum-seeker to Afghanistan. Finally, Georges Aperghis places a soprano voice within an instrumental thunderstorm of sound, inspired by Paul Klee’s painting Vor dem Blitz (Before the Lightning). “Contretemps” – the aesthetics of adverse circumstances. (Acht Brücken Festival)

Alberto Posadas — Umbrales evanescentes ("Poética del espacio") world premiere
Georg Friedrich Haas — im Schatten der Harfen German premiere
Georges Aperghis — Contretemps

Donatienne Michel-Dansac, soprano
Gerald Preinfalk, saxophone
Christoph Walder, horn
Anders Nyqvist, trumpet
Mikael Rudolfsson, trombone
conductor: Sylvain Cambreling

Before the concert
Public general rehearsal,
12 pm, Kölner Philharmonie
Composers' talk, 5 pm, Kölner Philharmonie
Louwrens Langevoort in conversation with Georges Aperghis


The composer Alberto Posadas on his 3rd piece of the composition series:
Alberto Posadas — Poética del espacio

30 September 2019
7.30 p.m.
Vienna, Wiener Konzerthaus, Mozart Hall Kraftraum Spirals

To listen in a sphere without boundaries, to feel one’s way towards the depths of what was seemingly submerged or to intuit what is inaudible up there in the firmament – to in a space of sounds.

Georg Friedrich Haas — in vain

conductor: Sylvain Cambreling



Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.

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