DK <qumran> - Architecture and Music Series


Series of three pieces based on the building Bodegas Qumrán.



bass saxophone, electronics and video


De la luz y del espacio

4-channel tape and video


Qumran B

percussion set, electronics and video


Further information at

DK <protos> - Architecture and Music Series


Series of pieces based on the building Bodegas Protos.


DK <sin>

version for clarinet solo and electronics


Electronic Study

4-channel tape


Esquirlas/vacío [Aquarius]

version for piano solo with electronics


Further information at

[d]espacio - Architecture and Music Series


music | video art | architecture | wine


[d]espacio: acousmatic series on four architectures. Music | video art | architecture | wine is an multi[inter]disciplinary spectacle conformed by four fixed media pieces and video projections composed between 2009 and 2012. The avant-garde buildings of four Spanish wineries closely inspire the four pieces; these wineries have been designed by four renowned contemporary architects: Electronic Study, based on Bodegas Protos designed by Sir Richard Rogers; Extrusion, based on Bodegas Marqués de Riscal by Frank Gehry; S A H, based on Bodegas Ysios by Santiago Calatrava and De la luz y del espacio, based on Bodegas Qumrán by Hernández/Solís [Konkrit Blu Arquitectura – Barcelona].

Music has been composed by Ángel Arranz and video projections have been created by Beatriz del Saz. While music is diffused through a surround speakers system, images are projected on the main screen of the hall. The four pieces in this recital conform an organic whole and they are played continuously without gasps between them.


[d]espacio refers to spatiality [on space], meaning that each one of four pieces explore the intervened spaces attending to different strategies, insofar as they recreate within the concert hall the spatial illusions of the wineries by modifying as the conditions as the numbers of elements –speakers- involved. On the other hand, the word despacio [Spanish, slowly], understood as an adverb, underlines the gradual, organic development of the pieces, according with the idea of extended time within the sound composition.


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DK <sin> for multi-instrumental ensemble and(or) electronics



DK <sin> is a multi-instrumental modular piece for ensemble with/without live electronics composed at the Institute of Sonology of The Hague. It has been created under the compositional system known as sinusoidal deconstruction. The piece has been developed on Paul Berg’s algorithmic composition program, AC Toolbox. Eight hundred different curves (‘seeds’) were handled through computer in order to generate different parameters, mainly rhythm, to construct the composition.

Seeds are the basic generative elements that control as the macrostructure as the smallest details of the entire composition, the microstructure. Thanks to the seed, the composer finds a very flexible, tactile, spatial absolutely emancipated rhythmic expression, and as well a natural and coherent bridge towards the nanostructure, the electronic realm, which constitutes those aspects impossible to be handled by means of acoustical instruments. The basic purpose of sinusoidal deconstruction is to build an auto-conductive non-harmonic musical system, given any number of instrumental parts and/or a live electronics field.

One of the main properties of sinusoidal deconstruction is dispensability: any of the parts may be omitted without damage in the macrostructure. As the absence of some parts as the combinatorial variability of them do not affect the musical efficacy of the composition. This auto-conductive feature could imply even conductor’s absence, if one of the instrumentalists picks up the role of leading the performance –generally the high-pitch richest instrument on stage.


Further information at

Instrumental composition under the framework of

sinusoidal deconstruction

DK <sin> excerpts

Trio version by Modelo62 Ensemble [cl. gt. cll.]


Violin solo version by Rebecca Huber


istruzione - agitazione - spazio/luce

Omaggio a Nono

Fixed media, originally 4-track tape

Toposonia - Urban Sound Art

'Topos' [place] 'Sonos' [sound]: Toposonia is a sound intervention designed by the composer Ángel Arranz to celebrate 1000 Years of the Foundation of Peñafiel City.


Toposonía is conceived by understanding the architectural layout of Peñafiel as the only resonant instrument, where circa 120 musicians are spread around several locatons in Peñafiel and participate all together in a sound choreography that plays with the spaces from a acoustic, organic point of view.

Punto Intenso Contra Remisso [2004 - 2008]


This composition starts from emptiness, reaches its maximum amplitude and dies out. It is informed by the Platonic concept farmakon, which is scrutinized by Derrida in his essay La disemination. Here, logos is brought into question, the spoken word is compared with writing, the remedy for preserving memory, and at the same time, the agent which causes its extinction, making farmakon a concurrent concept of remedy and poison.


The title comes from Correa de Arauxo, a Renaissance Spanish musician and composer who lived in the same decades of Miguel de Cervantes, the author of Don Quijote de la Mancha. By means of this expression, Arauxo describes a generally very brief musical dissonant phenomenon that occurs between two voices in a given counterpoint: the quiet non-conflicting diatonic note was called punto remisso, and as a chromatic inflexion of it, the active dissimilar note implicated in the collision was called punto intenso. So, it suggested to me a parallelism with the two principal characters of El Quijote: Sancho Panza, who represents in a figurative sense the hardness, the earthly aspects of life [the reluctant point] and Don Quijote, who represents the smoothness, the ethereal aspects of life [the intense point].