Concert Works

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Tableaux, 5 pieces for solo piano (2019)

No.1 – “Le Miroir d’un Instant”
To Isabel Pérez Dobarro
Estimated time: 4 min.
No.2 – “Vers le Vent d’Ouest”
To Kayla Wong
Estimated time: 6 min.
No.3 – “Échos du Temps”
To Miguel Baselga
Estimated time: 3 min.
No.4 – “Ondes Parallèles”
To Sabine Weyer
Estimated time: 7 min.
No.5 – “Reflets de la Pluie”
To Simone Dinnerstein
Estimated time: 4 min.

Some musicologists catalog my work as «neo-impressionism», or «contemporary impressionism». As such, these pieces have been programmed in many countries along with the works of the great masters of the French school. These words, far from being trivial for me, suppose a high load of responsibility: writing under the shadow of Debussy, Ravel, Messiaen or Dutilleux will never live up to their musical and artistic legacy but, without a doubt, their light is a powerful companion.

These five works have been written over several years, in a slow and meticulous process. Each of them is dedicated to an exceptional pianist, with whom my sound has the fortune to resonate with: all of these performers are pretty aware of subtlety in contrasts, sensuality in expression, and harmony within silence.

I thank Miguel, Kayla, Sabine, Isabel and Simone for their support and tutelage, and for sharing my music with listeners around the world through their concerts and recordings.

Manuel Ruiz del Corral, 2019

Essay No.7, “Gabriel”, for Symphonic Orchestra (2014)

Conceived as a “tour de force”, this 10-minute Essay goes across four different concepts of texture and rhythm, dealing with orchestral masses. “Gabriel” plays with darkness and light, constructing textures by overlapping cells and different sound layers, as a vivid sample of the personal techique of the composer.

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     Essay No.7 excerpt num.2

Essay No.6, for Clarinet and String Orchestra (2013)

Dedicated to the clarinetist Cristina Martin, this Essay delevops an exquisite dialogue between the clarinet and the string orchestra. Starting from a nuclear four-note motif played by the clarinet, the score threshes a three-part structure that subtly enfolds the listener with ambigous sonorities.

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Essay No.7 for Symphonic Orchestra