Daniel Fígols

Cuevas

Composer & Sound Artist

My music

Sempre Nostres

Always Ours

for bass clarinet & live electronics (2019)

Paul Everden (2019, London)

St John on Bethnal Green

isegoria

for bass clarinet, violin and piano (2019)

Eos trio (2019, London)

Borough New Music Festival 2019

OCTOBER 1st

for orchestra (2018)

Royal National Scottish Orchestra

(Glasgow, Scotland) 2018 Composers Hub

Holly Mathieson

TOX

for ondes martenot and piano (2017)

The expressivity of the ondes, based on a continuum of frequences that makes it similar to the human voice is confronted to the rhythmical and percussive violence of the piano.

Both instruments interact in a crossed toxic relationship, mixing their sonic characters one into the other.

Nathalie Forget & Flore Merlin

(2017, La Grave, France) Festival Messiaen

EON

for large ensemble (2012)

The universe exists in between two singular points: one is the maximum concentration and the lack of time and space, the other one is the maximum dilution and a terminal unfolded time. An aeon is the lapse of time between these two moments and therefore the overall duration of the universe. Whether it unfolds and refolds again is a theoretical supposition.

Æon is an invitation to follow this voyage of creation and annihilation in a human size, a representation of the forces in movement ordering space and form whose origin and end are the same singular point. The gestures are linked one to another as part of a continuous evolution and differentiation. The path evolves like on the surface of the Moebius strip, once the journey ends by going through the limits of the strip it finishes at the same starting point but in an opposite space. There are never two identical moments after a cycle, though our rationality invites our perception to think we are back to the same situation.

Klangforum Wien (2012, Graz)

Enno Poppe

A TOMS

for ensemble (2016)

A for Argon

T for Titanium

O for Oxygen

M for Magnesium

S for Sulfur

Ensemble Diagonal (2016, Radio France, Paris)

Rut Schereiner

STRYX

for orchestra (2010)

Orchestre National de Lorraine (2016, Metz)

Jacques Mercier

BLANC CASSÉ

for ensemble (2014)

Ensemble Vertixe Sonora

(2014, Santiago de Compostela)

Baldur Brönnimann

ISON

for ensemble (2013)

Ensemble Musica QuLacoza

(2013, Nagoya, Japan)

KÂLA

for large ensemble and live electronics (2012)

Orchestre des Lauréauts du CNSMDP (2012, Paris)

Tito Ceccherini

EGO EIMI

for six singers (2013)

EXAUDI Vocal Ensemble (2013, Paris)

James Weeks

YO NO SOY YO

for two female singers and cymbalum (2009)

Neue Vocalsolisten & Luigi Gaggero

(2009, Royaumont, Paris)

QUALE-COLOR

for ensemble (2013)

Ensemble BCN216 (2013, Barcelona)

Vicenç Prats

DIEVIŠĶS

for saxophone and cello (2015)

Duo Denisov (2015, Paris)

MIRA

for voice, recorder and electronics (2013)

Duo UMS 'n JIP (2013, Barcelona)

KEMURI

for piano and electronics (2015)

Dani Espasa (2015, Kyoto)

HACH

for ensemble (2014)

Lontano Ensemble (2014, London)

Odaline de la Martinez

SHĪ

for female voices (2014)

Cor de noies Exaudio (2014, Barcelona)

Júlia Sesé

TOUT BAS

for tubax solo, large ensemble and electronics (2010)

Tout Bas is all about the discovering of the Tubax, the contrabass saxophone developed by Benedikt Eppelsheim in 1999.

This piece explores the different registers, special techniques and expressivity of this wonderful and sonorous instrument through a concertando form; the ensemble and live electronics dress the Tubax up as a timbrical extension. Bass instruments from different families wrap around the Tubax sound with the exception of tenor an soprano saxophones who act as his natural register extension.

His potential unfolds throughout the piece and demands high technical and expressive skills.