Metaludios I

G. Díaz Jerez: Metaludios - Homenaje a ANtonio Soler


Gustavo Díaz Jerez

The Metaludios are relatively short works grouped in books of six pieces. In this CD I present the first three, totaling eighteen pieces. This project started in 2013 but does not end here; the fourth book is almost finished and a fifth is on its way. The word Metaludio is derived from the prefix meta-, “beyond” and the suffix -ludio, from the Latin ludēre, “to play”, “to exercise”. When coining this word, I tried to encompass these pieces beyond the usual preludes, interludes, etc. I have tried to give each Metaludio its own character, with distinguishing features that define its identity and differentiate it from the next. The titles give them away, sometimes because of the underlying scientific process, sometimes because of a mythological story behind, a tribute to a specific artist, or simply because of a sound resource that develops and grows in complexity.


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The first book arose at the request of my friend and colleague Marta Zabaleta, who was also in charge of its premiere. As usual in my compositional language, I combine scientific and mathematical elements with musical trends towards which I feel special affinity. The former includes the use of fractals, number theory, cellular automata, analysis of the harmonic spectrum, psychoacoustics, etc. The latter concerns elements of the spectralist movement, electroacoustic, and inside-the-piano techniques. These procedures provide me with musical raw material with which I model the work, but always from the perspective of the performer. For me, pianistic comfort and ergonomics are of vital importance when composing for the instrument. I believe that we can embrace without prejudice the artistic material of the past—the familiar, the known—and merge it with the technological tools at our disposal. It is not about breaking or denying tradition, but about extending and expanding the sound possibilities of the instrument in order to discover new piano landscapes. As an interpreter of my own works, I do not intend this CD to become the “definitive” version of these pieces. As a composer, there is nothing more comforting than seeing how other performers make them their own and impregnate them, inevitably, with their own personality.