Subtitle: The Order of the Chaos
Flute II/Alto Flute
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV
Horn in F I-II-III-IV
Percussion I-II-III-IV-V, including:
- Bass Drum
- Crash Cymbals
- Snare Drum
- Suspended Cymbal
- Temple Blocks
- Tenor Drum
- Tom-Tom (4)
- Tubular Bells
None discovered thus far.
The “Liber De Causis” – “Libro de las Causas” (“Book of Causes”) is a treatise that consists largely of extracts from elements of theology, which deals with various topics looking for the causality of things.
"The Order of Chaos". The entire range of chaotic behaviors are apparently different, underlying what appears to be a simple and surprisingly universal law: The order of the seemingly messy. It is in the final section of the work, the Fugue, where the variations of various thematic elements exposed along the part are organized, which seem to create a chaos, but everything is perfectly organized.
The work is structured into three main sections, preceded by an introduction in slow tempo and melancholic character and ends with a Coda.
De Causis ( "The Order of the Chaos") was composed in the early year 2009, according to the criteria of amplitude and orchestration recommended in the basis of The Second Tokyo Kosei Wind Orchestra Composition Competition. The Work, awarded the 2nd Prize & Special Prize Frederic Fennell in the II Composition Competition of the Tokyo Kosei Wind Orchestra (Japan), was premiered in January 2010 by the Municipal Band of Bilbao under its principal conductor, Rafael Sanz-Espert.
- Program Note by World Association of Symphonic Bands and Ensembles (WASBE)
The piece is structured in three sections, preceded by a slow, melancholy introduction, with sounds that seek to create a space for meditation. A polyrhythmic transitions to a small section senza restraint which generates a new sound environment in which various soloists speculate with small motifs, foreshadowing later elements, to then lead to the first section, which will present the two main themes of the piece.
The first item is constructed in a modal language and binary rhythm. After a new transition, we present the second issue of irregular ternary rhythm trying to resemble a pseudo-waltz. In the second section two main themes are discussed until we enter a new structure, ternary ABA Lied. The language used in this part of the book is organized by Edmond Coast in "The laws of Musical Harmony," based on numerical relationships provide octophonic mode used, sound generating entities based on the alternation of stability and dynamism, providing material used both in the melodic lines and harmonic sound in aggregations.
A transition, as used above, leads to the third section in which a summary of aspects of the two main themes build with primary and four secondary themes. The intention of this flight is the presentation of all orchestral instruments of the template through the different presentations of the primary subject. The piece concludes with a very bright sound coda in returning to themes based on the key issues.
- Program Note from publisher
- De Causis has been recommended as interesting, serious and distinctive music by members of the World Association of Symphonic Bands and Ensembles (WASBE).
- Audio: Reference recording. Banda Primitiva de Llíria al Certamen Internacional de Bandes de Música Ciutat de València (Spain) (Miguel Moreno Guna) – 24 July 2011
None discovered thus far.
- Second Prize & Special Prize Frederic Fennell in the II Composition Competition of the Tokyo Kosei Wind Orchestra (Japan).
To submit a performance please join The Wind Repertory Project
Works for Winds by This Composer
- World Association of Symphonic Bands and Ensembles (WASBE) Accessed 1 August 2016
- Zacarés Fort, F. (2009). De Causis : Banda Sinfónica [score]. Rivera D.L.: Valencia.