Maldonad / Trümpy: “FENIX”
LP
Javier Torres Maldonado on “FENIX”
This composition is the result of my collaboration with the exceptional musicians of the ensemble that will premiere this work, Ensemble Phoenix Basel.
The creation of my work was based on a number of ideas that are currently shaping my work. In particular, I intend to create a connection between real sound bodies and objects and their manipulation through artistic invention processes on which various transformations depend. The result of this could be compared to “imaginary chemical reactions”. These reactions lead to contrasting musical elements which, for all their arbitrary and expressive deformation, nevertheless leave open clearly perceptible conclusions about the original sound object.
With regard to the title, I can say that the connection between the basic material and the formal unity occurs through the process of distancing (a game with real perspective) to which the original objects are subjected.
At the end of each process of transformation, the materials return in a different light, like a phoenix rising from its ashes.
“Fénix (naturaleza visible)” is divided into three contrasting movements.
…
Balz Trümpy on “chamber concerto”
In addition to its original meaning of “competing”, the Latin word “concertare” also means “to work together, to agree”. In both meanings, it expresses the core of Western music-making practice. The principle is just as effective in a two-part invention as in a large solo concerto. My “chamber concerto”, which I wrote on behalf of Ensemble Phoenix Basel, is based on these aspects in both form and content. Soloists and groups alternate in concert and work together again in the ensemble. My starting point is the instrumental groups woodwinds, brass, percussion, piano and strings.
The interaction in terms of content is in turn reflected in the harmony of a chromatic modality that has characterized my music for many years. I am primarily concerned with creating a harmonic context with non-tonal means, both large and small. The course of the piece can be described as undulating, alternating between various degrees of intensification and moments of relaxation. In this respect, too, my intention is to create a coherent and organic sequence. However, this does not mean that the parts are always connected by transitions: An abrupt change can also be organic in a higher sense. Accordingly, I am less oriented towards the styles of the past fifty years. My main role model is Schumann, to whom I also feel a great affinity as a pianist; but Bartók also has a great influence on my music. This mainly concerns the aforementioned chromatic harmony and the form, rather than the musical content and expression.
Nuglar, January 2022

Side A
Xavier Torres Maldonado: “Fénix (naturaleza visible)”, double chamber concerto for two guitars and ensemble (2019/20, UA, commission EPhB) – 15’
Side B
Balz Trümpy: “chamber concerto” for an instrumental ensemble (2020, WP, commission EPhB) – 16’
Solo guitars: Pablo Márquez, Maurizio Grandinetti
Ensemble Phoenix Basel:
Christoph Bösch: flute, alto flute
Antje Thierbach: oboe, english horn
Toshiko Sakakibara: clarinet, bass clarinet
Simon Kissling: horn
Simon Lilly: trumpet
Michael Büttler: trombone
Daniel Stalder: percussion
Ludovic Van Hellemont: piano
Friedemann Treiber: violin
Alessandro D’Amico: viola
Stéphanie Meyer: cello
Aleksander Gabryś: double bass
Recording: Lars Dölle, Moritz Wetter, Radio SRF 2 Kultur
Edit: Christoph Bösch, Maurizio Grandinetti
Mix and mastering: Alex Buess
Recording date: 6th and 7th of February 2021 at Gare du Nord, Basel
Front cover illustration: Corsin Fontana, Untitled, 2000, wax crayon on paper, 66 cm x 51 cm, courtesy Tony Wuethrich Galerie, Basel
Back cover illustration: Corsin Fontana, Untitled, 1999, wax crayon on paper, 66 cm x 51 cm, courtesy Museum zu Allerheiligen, Schaffhausen
Sleeve design: 9•6 Andreas Kreienbühl, Basel
Vinyl cut: Centraldubs, Adrian Flück, Centraldubs, Bern
Manufacturing: Handle with Care, Berlin
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