NEWS

________________________

World Premiere:
"Impression" (2018) - 63 min. work for dance and orchestra.
Commissioned by the Staatstheater Heidelberg.
With Artistic Director Iván Pérez Avilés,
United Visual Artists (stage designer),
Carlijn Petermeijer (costume designer),
Dietger Holm (music conductor) and the
Heidelberg Philharmonic Orchestra.
Starting Dec. 2018
________________________

World Premiere:
"Deus ex machina" (2017) for large Orchestra
(Episode IV of the Cyborg Tetralogy)
Commissioned by the Fundación SGAE and the AEOS
9-10-11 Feb 2018
OBC Orchestra (Barcelona)
Conductor: Kazushi Ono




________________________

World Premiere:
"Big Data" (2016) for large Orchestra
Commissioned by the Detroit Symphony Orchestra
2016-17 Season Opening Program

(...) imagined and demanding of virtuosos, Big Data – not all fast, vibrant and ricocheting, but sometimes serene and with a sense of journeying high – is twenty minutes for anyone who loves the orchestra and what it is capable of, boundless in colour and effects according to Cruixent. (...)
(Colin Anderson, journalist. Classicalsource.com)

(...) On the 2016-17 season opening program September 29-30, the DSO performed the World Premiere of Big Data by Spanish composer Ferran Cruixent. Cruixent is known for his “cyber singing” concept, which combines instruments with technology. In November 2013 the DSO performed the World Premiere of his Cyborg, which incorporated the orchestra’s own cell phones into the composition using a mobile app. (...)
(DSO Press)
________________________

"Unlike anything you've ever heard."
"We're falling in love with this. This is just a terrific, wonderful new piece."

(Leonard Slatkin, conductor)

"Cruixent introduces a communications device into the orchestra, showing this way that technology combines with what we do. He calls it Cyber Singing. It’s fascinating."
(Leonard Slatkin, conductor)

"Eine neue 'Ode an die Freude', die hier das Primat des Menschen einwirbt.
Lange anhaltender, herzlicher Beifall!"

(Hans-Jürgen Thiers, journalist)

Mark

CYBORG (2010)


for Orchestra


Episode I of the Cyborg Tetralogy for symphonic orchestra
Comissioned by the Staatskapelle Weimar
Dedicated to my father

Presentation


Full performance


Full length Live



Work description
Playing time: 24:00
Opus/Year: (2010)
Genre: Orchestral music
Instrumentation: 3,2,3,3 - 6,3,4,1 - Pk, 4 Perc - Strings (14,12,10,8,6)
Premiere performance: 02.05.2010 / Weimar / D / Weimarhalle / Staatskapelle Weimar / Christoph Poppen (Cond.)
First perfomance(s): 07.11.2013 / Detroit / USA / Orchestra Hall / Detroit Symphony Orchestra / Leonard Slatkin (Cond.)
Score material available at Sikorski Music Publishers


Reviews
Leonard Slatkin reviews the piece and the new musical technique Cyber Singing:
“Cyborg” is a first composition by Ferran Cruixent, a Spanish composer, to be heard in the United States. He’s a relatively young guy. What he’s done, is write a piece where he wants to show how emerging technologies can be conjoined with what is a very traditional organization – the symphony orchestra. There are many, many unusual sounds that happen in this piece. The players are asked to speak. They are asked to sing. They are asked to play their instruments in unusual ways. But where the ‘cyborg’ implication comes from, meaning some form of creature that is part human; part machine, is that each orchestra member must download an MP3 file that the composer has created, and near the end of the piece, they all press their phones and it’s played back on the stage as we continue to play other things. So, he’s introducing a communications device into the orchestra, showing this way that technology combines with what we do. He calls it Cyber Singing. It’s fascinating. The real thing that makes this amazing, is that he’s not coming over for the performance, but he’ll be watching it on the Internet from Spain. And to think about that – that the composer has the chance to hear his work played for the first time in the United States by using the very technology he’s writing about. That’s extraordinary.
(Leonard Slatkin, conductor)

Review (german):
"Am Anfang aber stand 'Cyborg' von Ferran Cruixent, das Auftragswerk der Staatskapelle Weimar, ein mit scharfen Konturen und ebenso scharfer Licht- und Schattenwirkung ausgestattetes Hörgemälde, das sich mit der enger werdenden Beziehung Mensch-Technik auseinandersetzt. Im Wogen der Kontraste des mit modernsten Mitteln flüssig hingebreiteten, von Poppen mit unbändiger Energie organisierten Werkes spielt sich der Kampf der Kontrahenten ab, der sich letztendlich zu Gunsten des Menschen entscheidet. Plakativ erheben Musiker und Musikerinnen die Stimme zu hymnischem Gesang, eine neue 'Ode an die Freude', die hier das Primat des Menschen einwirbt. Lange anhaltender, herzlicher Beifall!"
Hans-Jürgen Thiers / 03.05.10 / TLZ

Other reviews:
Classical Source
Detroit Free Press

VIRTUAL (2011)


for Orchestra


Episode II of the Cyborg Tetralogy for symphonic orchestra
Comissioned by the Deutsche Radio Philharmonie Saarbrücken-Kaiserslautern
Dedicated to my wife



Playing time: 12:00
Opus/Year: (2011)
Genre: Orchestral music
Instrumentation: 3,2,3,3 - 6,3,4,1 - Pk, 3 Perc, Strings (14/12/10/8/6)
Premiere performance: 15.05.2011 / Saarbrücken / D /
Deutsche Radio Philh. Saarbrücken Kaiserslautern
Christoph Poppen (Cond.)
Score material available at Sikorski Music Publishers

Review excerpt:
"How pulsing with life, on the other hand, was Ferran Cruixent's orchestral piece "Virtual": the Spaniard, who has just become a father, was inspired by his wife's pregnancy. And doesn't one hear the first heartbeats of the child in the ultrasound, the labour pains as forte fortissimo in the entire orchestra as well as the comforting sound of the music box? A cheerful yet also well-composed work."
(Oliver Schwambach, Saarbrücker Zeitung, 16.5.2011)

BIG DATA (2016)


for Orchestra


Episode III of the Cyborg Tetralogy for symphonic orchestra
Commissioned by the Detroit Symphony Orchestra
dedicated to a 56K Modem device

Work selected 2017 by the Prince Pierre de Monaco Composition Prize 2017
Work selected 2018 by the Young Musicians Favourite Choice 2018

Review:
(...) imagined and demanding of virtuosos, Big Data – not all fast, vibrant and ricocheting, but sometimes serene and with a sense of journeying high – is twenty minutes for anyone who loves the orchestra and what it is capable of, boundless in colour and effects according to Cruixent. (...)
(Colin Anderson, Classical Source)

Full Length Video


Full Length Audio



'Big Data' (2016) for symphonic orchestra.
Episode III of the Cyborg Tetralogy
Comissioned by the Detroit Symphony Orchestra
Work selected by the Prince Pierre de Monaco Composition Prize 2017
Dedicated to a 56K Modem device
Playing time: 20:00
Opus/Year: (2016)
Genre: Orchestral music
Premiere performance: 08.09.2016 / Detroit / USA / Orchestra Hall / Detroit Symphony orchestra / Leonard Slatkin (Cond.)
Score material available at Sikorski Music Publishers


Program notes

"Big Data" for orchestra is a commissioned work by the Detroit Symphony orchestra, and a one-movement work inspired by the composer's fascination with human dependence on technology. It is concerned not only with the obsession, but also the magic behind data clusters in the computerised civilisation landscapes of the future.

Big Data is a term for large and complex 'data sets' used for strong predictive analytics.
Every human being who has an internet connection produces a unique digital shadow that cannot be deleted.

In this piece the orchestra imitates sounds of an old Modem-Fax device as a metaphor of the origin of Big Data, as well as encrypted Morse code messages such as "we-are-data". Even 'music data' information from other works written by Cruixent (such as "Binary", "Virtual" and "Solaria") are also used in this piece, in order to play with the global sense of Big Data.

Musicians are required to perform using special techniques, such as "Cyber Singing" (used for the first time in 2010 in Cruixent's symphonic work "Cyborg").
"Cyber Singing" introduces a new possibility of interaction between the composer and the musician, thereby enabling genuine communication to be attained.
The audio file prepared by the composer himself is played by the musician from his mobile phone, a device commonly used for other purposes.

Two mp3 audio files are required to be played during the work. The first of these (Singing Comet 67P) refers to recorded sounds (in 2014) coming from the Comet 67P using the Rosetta spacecraft magnetometer instrument. The result is a strange clicking noise that changes in pitch and tempo, like an unknown radio-voice from beyond.

Another musical theme to be heard in this piece refers to the old song "Daisy Bell" (Harry Dacre, 1892), programmed (1961) on an IBM 704 computer in the earliest known demonstration of computer speech synthesis. Auditory researchers also used this melody in 1974 for the first demonstration of "pure dichotic" (two-ear only) perception.
This melody works here as metaphor of the beginning of virtual intelligence.

(Ferran Cruixent, 2016)


Score available at Sikorski Music Publishers

Interview with Ferran Cruixent (in spanish)

(Video Source: DSO Replay)

BINARY (2015)


for 2 Pianos


Duo for 2 pianos
Commissioned by the ARD-International Music competition



Duration: 10 Min.


Program notes:

"Binary" for two pianos is a one-movement work, inspired by the composer's fascination about the dangers in human dependence in technological business, such as the obsession about media in today's mechanized and computerized society.
The name Binary refers to a digital representation of text and data, whose unit can take only two possible states. Binary code is a mathematical, technological language, developed by ourselves: an organic language that creates another to be described and discovered for itself.
In this piece the players are asked to play in special techniques, such as "Cyber Singing" (introduced 2010 in composer's symphonic work "Cyborg").
"Cyber Singing" introduces a new musical technique: the audio file prepared by the composer himself is played by the musician from his mobile phone, a device commonly used for other purposes. So, it defines a new possibility of interaction between the composer and the musician, attaining genuine communication itself.

Score available at Sikorski Music Publishers


Reviews:

"An incredible and fascinating new piece"
(Paul Badura-Skoda, head of Juror)

(...) „Binary“ ist eine großartige, enorm effektvoll auskomponierten Studie von Ferran Cruixent über Gefahr und Faszination „der Medien in unserer mechanisierten und computergesteuerten Gesellschaft“ (so der Komponist im Vorwort zur Partitur); also ein Stück (auch) über den binären Code und mittlerweile allgegenwärtige Klingeltöne (die denn bezeichnenderweise am frühen Nachmittag auch sehr real und ungewollt den Vortrag manchen Duos störten). Viel Chromatik gab es in diesem schier unter Strom stehenden, brillanten Stück, dessen ganz leise Coda Ferran Cruixent tatsächlich (unter dem Titel „Cyber Singing“) als einen Dialog mit zwei Smartphones komponierte, deren Zwischenrufe von zarten Glissandi an den Saiten des ersten Flügels und tonalen Akkord-Modulationen des zweiten Pianisten begleitet wurden.
Für mich setzten Lok Ping & Lok Ting Chau aus Hong Kong den Notentext am präzisestens um, spielten enorm durchsichtig und anfangs wirklich „meccanico, metronomico“. Sie ließen 32-tel-Figuren gläsern flirren, musizierten später tatsächlich „meccanico ossessivo“ oder „robotico“, waren auch in dynamischer Hinsicht enorm präzise und ließen ein auskomponiertes „Dial-Up“ tatsächlich als solches erklingen." (...)


(Klaus Kalchschmid, Klassikinfo.de, Wettbewerbs-Tagebuch)

FOCS d’ARTIFICI (2008)


for Percussion and Orchestra


(Fireworks)
Concerto for percussion and orchestra
Commissioned by Peter Sadlo
Dedicated to Peter Sadlo







'Focs d'artifici'
1st movement: 'Fanfarra de fusta' (Wood fanfare)
2d movement: 'Font màgica' (Magic fountain)
3d movement: 'Correfocs' (Catalan traditional night festivity)

Playing time: 23:00
Opus/Year: (2008)
Genre: Concerto
Instrumentation: 3,3,3,3 – 4,3,2,1 – Solo Percussion - Strings (14/12/10/8/6)
Premiere performance: 14.01.2008 / Reutlingen / D / Peter Sadlo (Perc) / Würtembergische Philharmonie Reutlingen / Norichika Iimori (Cond)
Score material available at Sikorski Music Publishers

Reviews:
(english)
Peter Sadlo with Bavarian State Orchestra
Peter Sadlo displayed the diversified fireworks with this concerto by Ferran Cruixent. (... ) In the contrastive second movement about an enchanted fountain Sadlo showed the whole range of percussive art. Spherical sounds above alternating harmonies were generated with vibraphone and bells, before in the third movement literally a tone painting firework was launched. (...) The concertante fiesta ended with sounding flares and boisterous applause.

Münchner Merkur, Anna Schürmer, 04.02.2015

(german)
(...) Im besten Sinne postmodern gebärdete sich das Stück "Focs d'Artifici" von Ferran Cruixent. Solo-Schlagzeuger Peter Sadlo war hier als Über-Virtuose gefordert. Effektvoll war dieses Opus allemal, und neben allerlei klanglichem Spektakel erwies es sich als dramaturgisch wohlfeil gebaut. Um Sadlos Können zu beschreiben, wären Vokabeln aus dem Sportbereich wohl besser geeignet als solche aus dem musikalischen. So schnell konnte man gar nicht schauen, wie er auf seine Schlagzeugapparaturen eindrosch. Der Applaus war riesig und wollte kein Ende nehmen. (...)
(Andreas Daams, Der Westen, 18.1.2008)


Extra material:
Solo Part Workshop Video with Peter Sadlo:


© ferrancruixent 2018