The extraordinary Tenerife creator and pianist Gustavo Díaz Jerez opened fire (one of whose previous works was precisely titled Spectra fractalis, winner of the Martín Chirino Prize for Composition), who has released his first opera two years ago and has just released the second CD of the Metaludios piano series, which with the first one already adds 24 instants of admirable immersion in the thousand atonal forms of the present, or elaborated from an inspiring past. In impatient awaiting the premiere of his seven symphonic poems inspired by the seven islands and recorded in Scotland, we have heard at this festival that of his Tahose, plain and simple splendid by the intelligence of an admirable treatment of natural or altered instrumental matter, and its angles of perspective and depth of the tutti or solistic sound, transparent and without a single gimmicky blur.
We met Leandro Martín There were no answers, a daring vocal-instrumental formula in which a voice (that of the Argentine-Canarian composer himself) emits choppy phrases of porteño themes with the dragged edge of a tango player, while the instruments go about their business: a idea, acid or friendly, in capricious debate with the voice.
Another great talent of insular roots, Gonzalo Díaz Yerro, combined three unpublished fragments to articulate the premiere of Diversidad, very notorious and differentiated in character, which once again reveals the mastery of instrumental color in its many forms of conventional or manipulated, as well as the combinatorial agility of its motives. Awarded for his music for European cinema, Gonzalo has completed an opera about a great Canarian character of the 20th century, which will make a sensation when it is premiered.
From the German Georg Friedrich Haas sounded Trina ex una, a wise lucubration of sound that comes from Josquin des Pres and covers more than six centuries of music surprisingly consonant with the aesthetics of dissonance.
Finally, the director Panisello gave a masterful dimension to his work Shifting mirrors an expressive number of sections inspired by stories of shamans, a score rich and complex in content, but with a very pleasant audibility.
The program concluded with the concert for harpsichord (piano, in this case) and five instrumentalists by Manuel de Falla, which for reasons of time I could no longer listen to. It was undoubtedly memorable in the hands of Gustavo Díaz Jerez, although it is not exactly contemporary music.