SKU: BO.B.3672

Written during the winter of 2007, this work is a metaphor of the three stages of a short but intense love story.

The first movement is called Poniente. This is the name of a rainy wind that comes from west. In this sense, west is not only the place where the sun sets, but where night begins. The first movement represents the beginning, the happiness and freshness of something new. The violin evokes freshness and spontaneity over the constant rhythm of the guitar, which plays the higher voice. While the violin signs happily, the guitar, instead of being just its accompaniment, plays the role of a counterpoint with its rhythmical and constant theme.

The second movement is called Largo-Balada-Largo and it's divided in two different parts. In the first one, guitar plays alone, reflexive and slow, representing the moments of loneliness of the one that waits for the lovers reunion. In the second movement, violin and guitar begin a dialogue where the violin plays a sweet yearning ballad, while the guitar answers as a baroque counterpoint. At the end, calm comes back, as in the first part of the second movement.

The third movement is called Danza ritual and it is the most violent of the three parts. It represents the lovers reunion, the resolution of all the controlled excitement. It's the flame that consumes quickly but intensely. At the end of this part, the violin reintroduces the main theme of the first movement, but with a variation, more intense and dramatic. This dramatic and intense quality is also due to the guitar ostinato, which ends in a hysteric trill. This leads us again to the first part, ending the third movement and this work in a sudden setback, as an interrogation tag.

SKU: HL.14008995

ISBN 9788759878217. Danish.

Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu, Joy of Man's Desiring, cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly, I haven't included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders.