Orchestra
Orchestra
N. Works written before 1989 have been withdrawn by the composer
MÚSICA EXTREMADA 1986
for orchestra
première: 16/01/1988, Teatro Real, Madrid / Spain. Joven Orquesta Nacional de España / Edmon Colomer
• Proyecto Sotelo SL
DUE VOCI…, COME UN SOFFIO DALL’ESTREMA LONTANANZA 1990/91
for clarinet, saxophone, female choir, orchestra and live-electronics
commissioned by the ORTVE
text: Thomas Aquinas, Rainer Maria Rilke and Massimo Cacciari
première: 05/02/1991, Teatro Monumental, Madrid / Spain. Ernesto Molinari (clarinet), Marcus Weiss (saxophon), Orquesta y Coro de la RTVE / José Ramón Encinar. Sound director: Peter Böhm
• Universal Edition
TENEBRÆ RESPONSORIA 1992/93
for cantaor, tenor saxophone, tuba, piano, duoble mixed choir and three orchestral groups.
commissioned by: Semana de Música Religiosa de Cuenca
première: 30/03/1993, Iglesia de San Pablo, Cuenca / Spain. Enrique Morente (cantaor), Marcus Weiss (saxophone), Josef Steinbock (tuba), Marino Formenti (piano), Concentus Vocalis, Klangforum Wien / Mauricio Sotelo
• Ariadne Verlag
ROSE IN FIAMME 1993/94
for piano and for orchestral groups
commissioned by: Orquesta Nacional de España
première: 11/03/1994, Auditorio Nacional de Música, Madrid / Spain. Massimiliano Damerini (piano), Orquesta Nacional de España / José Ramón Encinar
revised version 1997/98 as AL FUEGO, EL MAR, for piano and for orchestral groups [4.0.4.4. / alto and tenor sax / 6.5.4.2. / 4 perc / 2 hp / str] 25’
première of the revised version: 16/10/1998, Donaueschingen. Yukiko Sugawara (piano) SWF Orchester Baden-Baden/Jürg Wyttenbach
• Universal Edition
FRAMMENTI DE L’INFINITO. LORCA-NONO DIÁLOGO DEL AMARGO 1998
for orquesta (2.2.2.2. / 2.2.2.0. / 2 perc / string) and sound carrier.12’
commissioned by: Junta de Andalucía
première: 25/06/1998, Fuentevaqueros, Granada / Spain. Orquesta Ciudad de Granada / Joan Pons
• Universal Edition
LECTURAS DEL LIBRO DE JOB 1998/2000
flute, string orchestra (16 14 12 10 8 ) and speaker ad libitum. 16’
commissioned by: Orquesta de la Comunidad de Madrid
text source: “Book of Job”
première: 08/06/1999, Teatro de la Zarzuela, Madrid / Spain. Roberto Fabbriciani (flute), José Luis Pellicena (speaker), Orquesta de la Comunidad de Madrid/ Pedro Alcalde
• Universal Edition
CENA DE LAS CENIZAS 1999/2000
for orchestra (3.3.3.3. / 4.2.3.1. / 2 perc / hp / string). 25’
commissioned by: Orquesta Sinfónica de Galicia
première: 03/10/2001, Palacio de Congresos y de la Ópera, La Coruña / Spain. Orquesta Sinfónica de Galicia / José Ramón Encinar.
• Universal Edition
SI DESPUÉS DE MORIR… IN MEMORIAM JOSÉ ÁNGEL VALENTE 1999/2000
for cantaor (or contralto), orchestra (2.2.2.2. / 4.2.3.1. / 3 perc / string) and sound carrier. 18’
text: José Ángel Valente
première: 18/10/200, Teatro Monumental, Madrid / Spain. Arcángel (cantaor), Orquesta Sinfónica de la RTVE / Antoni Ros-Marbà.
P. Universal Edition 31956 / 32548 (2001)
Alternative version: ELEGÍA. FRAGMENTO 1999/2003
for flute and orchestra (2.2.2.2. / 4.2.3.1. / 3 perc / string)
première: 16/10/2003, Teatro ‘Giuseppe Verdi’ , Trieste / Italy. Orchestra Filarmonica Teatro ‘Giuseppe Verdi’, Roberto Fabbriciani (flute) / Stefano Mazzoleni
CHALAN 2003
for percussion and orchestra ( 2.2.0.1. / 1.1.2.1. / 2 perc / piano / string). 18’
commissioned by: Ensemble musikFabrik and Kulturstiftung NWR
première: 03/12/2003, Funkhaus Wallrafplatz, Cologne / Germany. Trilok Gurtu (percussion), Ensemble musikFabrik/ Stefan Asbury.
• Universal Edition UE 32615 / 32912 (2003)
EL LOCO 2004
ballet, for saxophone and orchestra. 90’
commissioned by: Ballet Nacional de España
première:06/09/2004, Teatro Real, Madrid / Spain. Ballet Nacional de España / José Antonio. Marcus Weiss (saxophone),
Orquesta Sinfónica de Madrid / Josep Pons
Choreography: Javier Latorre
Scenery: Francisco López
main soloists: Christian Lozano (Félix ‘El loco’), Tamara López (Tamara Karsavina / La molinera / La dama blanca), Óscar Jiménez (Massine / El molinero / Espectro), Alberto Ferrero (Diaghilev / Espectro), Primitivo Daza (El bailaor antiguo / Espectro)
• Proyecto Sotelo SL
for flute, harpsichord and orchestra (2.2.3.2. / 4.2.2.1. / 3 perc/ string) 18’
commissioned by: Saarländischer Rundfunk
première: 24/09/2006, Congresshalle, Saarbrücken / Germany. Roberto Fabbriciani (flute), Elisabeth Chojnacka (harpsichord) RSO-Saarbrücken /Josep Pons
• Universal Edition UE 31042 / 31107 (2006)
MUROS DE DOLOR… III 2006/07
for orchestra (3.2.3.2. / 4.2.2.1. / 3 perc / string). 14’
commissioned by: Orquesta Filarmónica de Gran Canaria
première: 04/052007, Auditorio Alfredo Kraus, Las Palmas de Gran Canaria / Spain. Orquesta Filarmónica de Gran Canaria / Anne Manson
• Universal Edition
for guitar and orchestra. 23’
commissioned by: Festival de Música de Canarias
première: 18/01/2008, Auditorio Alfredo Kraus, Las Palmas de Gran Canaria / Spain. Juan Manuel Cañizares (guitar), Nederlands Philharmonisch Orkest / Yakov Kreizberg
• Universal Edition UE 33996 / 33710 (2007)
EL RAYO DE TINIEBLA 2007/08
for cantaor, choir and orchestra
commissioned by: Orquesta de la Comunidad de Madrid
première: 04/06/2008, Auditorio Nacional de Música, Madrid / Spain. Arcángel (cantaor) ,Orquesta y Coro de la Comunidad de Madrid / José Ramón Encinar
• Universal Edition
CRIPTA, MÚSICA PARA LUIGI NONO 2009
for voice (cantaor), mixed choir, ensemble and sound carrier. 64’
commissioned by: Salzburg Biennale (I)
première: 05/03/2009, Mozarteum, Salzburg / Austria. Arcángel (cantaor), Österreichises Ensemble für Neue Musik, Salzburger Bachchor / Beat Furrer
• Universal Edition
ARDE EL ALBA 2008/09
for soprano, ‘cantaor’ and orchestra. 24’
commissioned by: Orquesta Nacional de España.
première: 04/03/2009, Auditorio Nacional, Madrid / Spain. Milagros Poblador (soprano), Arcángel (cantaor),Orquesta y Coro Nacional de España/ Josep Pons
• Universal Edition
CUERPOS ROBADOS 2011
for violin, reciter and orchestra. 15’
commissioned by: Festival Klangspuren Schwaz
première: 08/09/2011 Schwaz / Austria. Patricia Kopatchinskaja (violín), Ernesto Estrella (recitador), Tiroler SO Innsbruck / Franck Ollu
• Universal Edition
BRUCKNER-NACHKLANG 2013
for orchestra. 3’33’’
commissioned by: Bamberger Symphoniker
première: 23/05/2014, Konzerthaus, Vienna
Bamberger Symphoniker/ Jonathan Nott
• Universal Edition
RED INNER LIGHT SCULPTURE 2015
for violin, bailaora [Flamenco-Tänzerin], flamenco–percussion and string orchestra. 22’
commissioned by: Patricia Kopatchinskaja / Praetorius Prize
première: 10, 11, 12/06/2016, Ordaway Hall, St. Paul / Minnesota 2016; 20’
Patricia Kopatchinskaja (Vl.), Ruben Olmo (bailaor), Agustín Diassera (perc), St. Paul Chamber Orchestra / Tito Muñoz.
(Also performable without bailaora and flamenco percussion)
• Universal Edition
CINCO SONATAS DE DOMENICO SCARLATTI (K107, K184, K 450, K455, K87) 2017
for string orchestra (with flamenco percussion ad libitum) ca. 30’
commissioned by: Stuttgarter Kammerorchester
première: 23/03/2017, Theaterhaus, Stuttgart/ Germany; Stuttgarter Kammerorchester / Mauricio Sotelo
• Universal Edition
DOS PRELUDIOS DE CHOPIN (Nr. 4 & Nr. 8) 2017
for solo violine and string orchestra. ca. 10’
commissioned by: Stuttgarter Kammerorchester
première: 23/03/2017, Theaterhaus, Stuttgart/Germany; Stuttgarter Kammerorchester / Mauricio Sotelo
• Universal Edition
Y LOS ARCOS VACÍOS POR EL CIELO 2017
for guitar quartet and string orchestra. ca. 20’
commissioned by: Aleph Gitarrenquartett /Stuttgarter Kammerorchester
première: 19/05/2017 Stuttgart/Germany; Aleph Gitarrenquartett, Stuttgarter Kammerorchester / Mauricio Sotelo
• Proyecto Sotelo SL
CON SEGRETO SUSSURRO: DE VINCULIS 2017
Concerto per pianoforte e orchestra. 22’
commissioned by: Orquesta Nacional de España/INAEM
première: 23, 24, 25/02/2018. Auditorio Nacional de Música, Madrid/Spain. Nicolas Hodges (pno), Orquesta Nacional de España / David Afkham
• Proyecto Sotelo SL
LʼANGELO NECESSARIO – A MASSIMO CACCIARI 2018
For solo clarinet and orchestra. 15’
commissioned by: La Monnaie/De Munt
première: 06/01/2019. Bozar, Brussels/Belgium. Symphonic Orchestra of La Monnaie/ Alain Altinoglu
• Universal Edition
UN MAR DE SUEÑO. SUITE Nº 1 DE EL PÚBLICO. 2021/2022
for mezzosoprano, tenor and chamber orchestra. 20’
commissioned by: CNDM and Escuela Superior de Música Reina Sofía
• Universal Edition
CANTES ANTIGUOS DEL FLAMENCO 2021/22
for viola and orchestra. 22’
commissioned by: Festival Internacional de Granada 2022
première: 29/06/2022. Palacio de Carlos V, Granada / Sp
Orquesta Ciudad de Granada. Tabea Zimmermann / Lucas Macías
• Universal Edition
CANTES DE ROJO FUEGO 2023
for voice ( cantaor), saxophone and orchestra. 29'
commissioned by: Festival Flamenco on Fire 2023
première: 23/07/2023. Auditorio Baluarte, Pamplona / Sp
Orquesta Sinfónica de Navarra. Vicente Soto "Sordera", Antonio Reyes, Rosario "La Tremendita" / Óliver Díaz
• Universal Edition
Withdrawn works
Works written before 1989 have been withdrawn by the composer
• Polyphem (1985), orchestra
• Lueurs lisieres (1988), orchestra
Testimonials
"Mauricio, a great friend and a magnificent artist! What a pleasure to prepare together a new opera! Thanks for your poetry, your invention, your virtuosity." (Madrid, 03 November 2010)
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Mauricio Sotelo's music is one of the most intense illuminations that, in the air of sounds, can find the semantics of words. I heard about Mauricio from one of the greatest composers of our time, Luigi Nono, who I met in 1988 at the Institut for Advanced Study in Berlin. Luigi was the one who asked me if I knew a young Spanish composer about whom, I confess, knew nothing about. Since then, the admiration I felt for Nono is linked to the person and music of Mauricio. The work of two disappeared friends [Luigi Nono and José Ángel Valente] grows, lasts, illuminates and survives in the prodigious sound universe of Mauricio Sotelo.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of norms of the second half of the twentieth century. You use "flamenco" as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".
"Mauricio, a great friend and a magnificent artist! What a pleasure to prepare together a new opera! Thanks for your poetry, your invention, your virtuosity." (Madrid, 03 November 2010)
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of standards of the second half of the twentieth century. You use flamenco as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".