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My first steps as a composer were closely linked with the beginnings of Klangforum Wien and are impossible to separate from my friendship with the composer Beat Furrer. This friendship led me to play a very busy role in Klangforum’s activities in Vienna at the time and to help launch the ensemble’s first guest performances in Spain. The world premières of my first works were also given in Klangforum concerts. Through intensive discussions with some of its members, I began to create what could now be described as the “Sotelian” universe of sounds. “Our” concerts gave me the chance to familiarise myself with and to study in depth our favourite music at first hand. In short, this time is associated with many wonderful memories for me.
Memories and personal experiences, such as I have already described, also resonate in the music of my new piece. In this double concerto for flute, double bass and ensemble, large passages performed by the solo instruments evoke the broad and splendid spectrum of the “cante” – the singing used in the many different forms of flamenco, such as “Soléa”, “Siguiriya” or “Buléria” – in the same way as it would be expressed by the voice of a flamenco singer like Enrique Morente. Each line of the horizon, the edge or intersection of vibrating fields of colours that create a wall of sound (muro sonoro) corresponds to the melody line of the solo instruments – “voz de dolor, i canto de gemido” (F. de Herrera, Canto I). The sound surfaces, in turn, are created in such a way as to recall the “walls of light” in the series of works by the great Irish painter Sean Scully. Klang-Muro I is this kind of wall of light, a whirring acoustic mural saturated with memories, which are not only stored in our minds, but are also a part of our lives – the result of our shared experience: a collective “I” or a “we”, as well as the harmonising of our paths of life with the vibrations of sound from our musical work. The footprints, face and soul of our existence.