Derivations is the result of bringing to the orchestra materials which have been crucial in my music over the last ten years and that although they have taste as well as chamber music and have been treated mostly – Nóniga, Necesidad y Azar, Quintet — also appear in larger works bill – concerts for guitar and flute, and more rarely, in the orchestral Filosonia dedicated to the philosopher García Bacca (1991), Contexto I and De Materia (1988-1990).
The most striking feature of these materials can be noticed immediately in your hearing: it is a very fast flow of sounds (in the orchestra its execution speed will be somewhat more moderate) and high density while retain a closure interval.
Emphasizes the form of contrapuntal treatment: techniques of canon and fugue and only at the end of the piece the overall sound is more explicit to dissolve then nothing, suddenly.
So, we are therefore faced a job that could well fit within the Concerto for Orchestra in which the nature of musical material requires teachers positioning midway between chamber music and performance only.
In the aftermath Derivations worthwhile to note the Symphony (1993), premiered under the direction of Martinez Izquierdo, Piano Quintet (Torroella de Montgrí, 1996) and the scenic piece Dedins, defora (From in, from out), monologue with music on Cunillé text, premiered at the Barcelona Summer Festival – Grec 97, directed by Ernest Martinez Izquierdo, intervention of Rosa Cadafalch like actress and stage director Albert Bokos. Also, Anthropos Captive (1997), is a futuristic visual-symphonic creation which plot is a reflection on the technological society. Llanas uses Chinese shadow projections and other images through television monitors, dance and an orchestra divided into four groups that surround the public inside the auditorium.
As Albert Llanas know and whatever the resources involved ,in his music abounds a subtle and highly original poetry, product of who has a refined acoustic sensibility with and innate cultivated condition: the communication with others. This installed on an intellectual thought which in the most recent years, has received some influence from Juan David Garcia Bacca whose Philosophy of Music (Anthropos, Barcelona 1990) is the most outstanding contribution to contemporary Spanish thinker to the study and scientific analysis of music. The work that is premiered today has perhaps its most significant antecedent in Necesidad y Azar, suggested in its title and approach by the thinkings of Garcia Bacca about electronic music.
(excerpt from the program notes for the premiere of the composition signed by Enrique Franco)
Listen to the composition: