If we are now on the exciting path of finding the relations of the eighteen century time between schemes, affetti, rhetoric, instrumentation and form, I thought; Why not use that translated to my world and my language? The eighteenth-century musician was a practical musician and is therefore the "Schematicon" an archetype that works perfectly within a tempered system of 12 notes per octave of equal division, and I thought: why not with 24 or 48 or with the series of harmonics ?. This is how this clash came together with my world focused on a lutheria of new instruments for microtonal use in composing, a shock that promised openness, the proliferation of relationships and almost infinite sound possibilities, like music over music, with a certain nostalgia but insinuating, suggested perhaps also by the train, because we must clarify that not everything should be metaphysical obfuscations as I like to believe...
24 EDO
(b.1974 in Manresa, Catalonia,Spain) Composition studies at ESMUC(University School of Music Barcelona) and with: Eduard Resina,Manuel Hidalgo, Helmut Lachenman, Walter Zimmermann, John Rahn, Michäel Levinás. Also assist to Masterclasses by Jonathan Harvey, Yan Maresz, José Manuel López López, Chaya Czernowin, Toshio Hosokawa, Brian Ferneyhough, within other. Master at UB (University of Barcelona). Granted in the International Darmstadt Music Institut with full scholarship. Selected for the “Composers meeting” at Barcelona festival with performances by the Ensemble BCN 216 (2004-2005). Granted to assist at the Schloss Solitude Stuttgart 2005. Winner of the SWR Stuttgart orchestral competition (2012). Winner at the Commission Award Après l’Histoire Centennial in Chicago (2018). Pieces edited by Clivis Ediitions, and a Monographic CD edited by La mà de Guido/Ars Harmonica. Since 2013 is teaching Analysis and Composition Techniques at ESMUC (Escola Superior de Música de Catalunya).