piano
TRÁNSITOS
It was premiered by the Real Filharmonía de Galicia and the Abe Rábade Trio on April 30th, 2015, conducted by Paul Daniel at the Auditorio de Galicia (Santiago de Compostela, Galiza, Spain). Tránsitos was played again twice:
FESTIVAL DE JAZZ DE PRIMAVERA DE OURENSE (GALIZA, SPAIN)
On April 1st, 2015 in the Festival de Jazz de Primavera de Ourense (Ourense Spring Jazz Festival). That night’s performance of the Abe Rábade Trio with the Real Filharmonía (the Royal Philharmony of Galiza) was edited in CD+DVD by Karonte Records.
FESTIVAL DE JAZZ DE VALENCIA (SPAIN)
On July 12nd, 2019, in the Festival de Jazz de Valencia (at El Musical Theater) with the Orchestra of Valencia conducted by Pablo Marqués.
The work Tránsitos is written for Jazz Piano Trio and Symphonic Orchestra. It is structured in four movements:
I. Tránsito 1: Source
II. Tránsito 2: Deep Cycle
III. Tránsito 3: Jamal’s Mood
IV. Tránsito 4: Void
The main objective of the work Tránsitos was to deepen the symbiosis between symphonic music and jazz, without sacrificing the extraordinary timbral variety that the orchestra offers nor the musical creation in real time of a jazz piano trio.
In order for two worlds to embrace tightly, it is necessary that they open the borders and renounce their certainties. The brave gesture of the hands that undertake this encounter is marked by love for the unknown, by confidence in transformation and by the desire to exploit the ways that will end up nurturing both bodies.
To travel the paths that lead from sweetness to the savage, that unite the party with the duel, that communicate the light with the dark is the main task; a journey that fortunately will prevent us from inhabiting the stillness of sweetness, of the wild, of the party, of the duel, of the light and the dark. In their solo form they are aseptic, with their boring purity… without contrast, without movement, without the possibility of change.
In the dance of the opposites, in the impure gathering of diverse elements, lives usually the music that tastes best. Well, music doesn’t ever cease in our lives. She returns in eternal spirals of disgruntled time, leaving traces of silence in us; a hangover that reveals her unspoken nature (and makes it ring at last).
Original notes to the hand program
Abe Rábade
Compostela, april 2015
TEMPOS VELADOS
It was premiered by the Real Filharmonía de Galicia, the Orfeón Terra a Nosa, the Coro de Nenos da EMMS and Abe Rábade as a solo pianist on June 1st, 2017, conducted by Paul Daniel. Venue: Auditorio de Galicia (Santiago de Compostela, Galiza, Spain).
The work is written for Symphony Orchestra, Five-part Adult Choir, Two-part Children’s Choir and Piano (concerted with the orchestra, featuring some improvised sections and a cadence between the 2nd and 3rd movements).
Tempos Velados is approximately 27 minutes long and it is structured in four movements:
I. Cantos falan por min
II. Amor sen límites
III. Chegarán suaves choivas
IV. Cando vaciles baixo o peso da dor
The work is based on four poems that were set to music. The texts are by 4 authors from very different periods and places:
– “Cantos falan por min” is a poem by Abe Rábade’s father, Xesús Rábade Paredes, therefore XXI century.
– “Amor sen Límites” is by the 9th century Japanese poet Ono No Komachi.
– “Chegarán Suaves Choivas” is by the 20th century American poet Sara Teasdale.
– “Cando vaciles baixo o peso da dor” is by the 12th century Persian poet Omar Khayyham.
All four texts present an unreal time of some sort. This common feature is in fact the reason for the title of the work: “Tempos Velados” (* Veiled Times). That unreality is respectively (poem by poem) the time of the redemption of a people, an infinite time, the time of the end of humanity and the time of hope.
The mixed choir has a fundamental weight in the whole work.
The children’s choir is very relevant in the 4th movement and also participates in the 2nd with a lot of prominence.
For the careful ones, time also hides three dimensions: gesture, path and scent.
The gesture is intuitive. Choosing it well and specifying it makes the immediate to be wise, like a fleeting miniature that drinks hints.
The road tells the story. t drives gestures in a concious and linear way (that’s why it is often to be considered as the only time that exists).
The scent is a calm sediment. It wraps everything in spirals that slowly vaporize our deepest desires (and fears).
Original notes to the hand program
Abe Rábade
Compostela, mars 2017
OTHER INTERNATIONAL PREMIERES FOR LARGE FORMATS
Maiéutica, Lady Finger and The Tunnel (for Jazz Orchestra) were premiered with the BigBand directed by Greg Hopkins -in the academic period from 1995 to 1999 at the Berklee College of Music- at the Berklee Performance Center (Boston, USA) .
Amor Ascensor and Motivos Majoreros (for Jazz Orchestra) were premiered with the René González Jazz Orchestra conducted by Abe Rábade himself on February 16, 2003 in the Aula Magna of the University of La Laguna in Tenerife (Canary Islands, Spain).
Babel de Sons (for Jazz Orchestra) was premiered by the ESMAE Bigband conducted by Abe Rábade himself on December 2, 2014 at the Casa da Música do Porto (Portugal).
Prana (for Jazz Orchestra) premiered with the Macao Bigband under the direction of Abe Rábade himself on October 12, 2013 at the Macao International Music Festival in Macao (China).
Cinco Fiestras (for Mixed Choir, String Orchestra and Concerted Oboe) and Setes (for String Orchestra, Flute and Piano Concertantes) were premiered with the Concerto Tempo choir and the Chamber Orchestra of the Advanced Orchestral Specialization Course of EAEM in Santiago de Compostela (Galiza, Spain) on March 27, 2014 conducted by Maximino Zumalave at the Auditorio da Escola de Altos Estudos Musicais in Santiago de Compostela.
Paseo dos Gafos (for Symphonic Band) premiered with the Pontevedra Music Band conducted by Juan Lois Diéguez at the Teatro Principal in Pontevedra (Galiza, Spain) on May 22, 2014.
Vieiros de Luz (for Symphonic Band) premiered with the Lalín Music Band under the direction of Juan Lois Diéguez at the Auditorio Municipal de Lalín (Pontevedra, Galiza, Spain) on February 7, 2015.