... ATMEND… 1989
for contrabass clarinet, double bass, saxophone, violoncello, piano and percussion
première: 16/03/1990, Vienna / Austria. Die Reihe / Heinz Karl Grüber
• Ariadne Verlag
QUANDO IL CIELO SI OSCURA 1989
for saxophone and ensemble (string trio, double bass, piano and percussion)
première: 13/12/1989, Auditorio Nacional de Música, Madrid / Spain. Marcus Weiss (saxophone), Grupo Círculo/José Luis Temes
• Edition Contemp-Art
NEL SUONO INDICIBILE – A LUIGI NONO 1989/90
for bass-clarinet / double bass-clarinet, alto saxophone/ tenor saxophone, violoncello and live-electronics
première: 23/04/1990, Sezession, Vienna / Austria. Ernesto Molinari (clarinet), Marcus Weiss (saxophone), Lucas Fels (violoncello) Sound director: Peter Böhm
• Ariadne Verlag
IX+, DE SUBSTANTIIS SEPARATIS 1990
for soprano, ensemble (saxophone, double bass-clarinet, tuba, piano, 2 violoncellos, double bass) and live-electronics
Text by Sotelo, inspired by the homonymous book by Santo Thomas de Aquinas
première: 03/12/1990, ORF Grosser Sendesaal, Vienna / Austria. Margarete Jungen (soprano) Klangforum Wien / Mauricio Sotelo
• Ariadne Verlag
NON GRIDATE PIÙ 1990/91
for 2 female voices, piano, ensemble (flute, 2 clarinets, saxophone, tuba, 2 percussions, string trio and double bass) and live-electronics
commissioned by: Fundación Juan March
text by Giuseppe Ungaretti.
première: 23/10/1992, Philharmonie Cologne / Germany. Sarah Barrett, Renate Burtscher (voices), Kristi Becker (piano), WDR Sinfonie Orchester Köln / Hans Vonk. Sound director: Peter Böhm
• Ariadne Verlag
FLÖTENTÖNE 1991
for 8 flutes in two groups
première: 26/03/1992, Brucknerhaus, Linz / Austria. The Vienna Flautists
• Ariadne Verlag
L’ALLEGRIA I 1992
fur ensemble (piccolo, bass-clarinet bajo, string trio, percussion and piano). 12-13’
commissioned by: Barcelona 216
première: 05/04/1993, Zagreb / Croatia. Ensemble Barcelona 216 / Ernest Martínez Izquierdo
• Ariadne Verlag
TENEBRÆ RESPONSORIA 1992/93
for cantaor, tenor saxophone, tuba, piano, duoble mixed choir and three orchestral groups.
commissioned by: Semana de Música Religiosa de Cuenca
première: 30/03/1993, Iglesia de San Pablo, Cuenca / Spain. Enrique Morente (cantaor), Marcus Weiss (saxophone), Josef Steinbock (tuba), Marino Formenti (piano), Concentus Vocalis, Klangforum Wien / Mauricio Sotelo
• Ariadne Verlag
L’ALLEGRIA II 1993
for piccolo, bass clarinet, string trio, and piano
commissioned by: Grupo Círculo and Fundación Caja Madrid
première: 07/06/1994, Madrid / Spain. Grupo Círculo / José Luis Temes
• Ariadne Verlag
DE IMAGINUM, SIGNORUM ET IDEARUM COMPOSITIONE I 1994, rev. 1996
for ensemble (flute, clarinet, alto saxophone (Eb), tenor saxophone (Bb) - percussion (2) - piano - violoncello double bass), 14’
commissioned by: Klangforum Wien and the Wittener Kammermusiktage
première: 21/04/1995, Witten / Germany. Klangforum Wien / Peter Rundel.
• Universal Edition 31158 (1995)
EXPULSIÓN DE LA BESTIA TRIUNFANTE 1995
for cantaor (flamenco singer), string quartet and double bass
commissioned by: Festival de las Artes Sibila
text: José Ángel Valente
première: 12/03/1996, Teatro Central, Sevilla / Spain. Enrique Morente (cantaor), Arditti Quartet, Stefano Scodanibbio (double bass).
• Universal Edition
NADIE 1995/97
for cantaora (ossia contralto), saxophone, percussion and piano. 11’
commissioned by: Verano Musical de Segovia
text: José Ángel Valente
première: 11/07/1997, Iglesia de San Juan de los Caballeros, Segovia 7 Spain. Esperanza Fernández (cantaora), Trio Accanto [Marcus Weiss (saxophone); Christian Dierstein (percussion); Yukiko Sugawara (piano)]
• Universal Edition
ANGEL DE LA TIERRA 1997
for 2 cantaoras (ossia contraltos), ensemble (flute, saxophone, piano, 2 perc, violoncello and double bass) and tape. 25’
commissioned by: Studio für electronische Musik des WDR Köln
première: 10/04/1999, Cologne / Germany. Marina Heredia, Eva Durán (cantaoras), De Amore Ensemble / Mauricio Sotelo.
• Universal Edition
POSESIÓN DEL ÁNGEL 1997/2001
for cantaor (or baritone), ensemble and sound carrier. 50’
text: José Ángel Valente
• Universal Edition
CANTA LA LUZ HERIDA POR EL HIELO. HOMENAJE A FEDERICO GARCÍA LORCA 1998
for violin and ensemble (flute, clarinet, 2 perc, string quartet and double bass) and sound carrier. 9’
commissioned by: Ensemble Modern
première: 16/02/1998, Frankfurt / Germany. Ensemble Modern / Sian Edwards
• Universal Edition
INTERLUDIEN ZU LORCAS ‘CANCIONES POPULARES’ 1998
for flute, guitar, viola, double bass and percussion. 15’
commissioned by: Comisión Nacional del Centenario de Federico García Lorca and Ensemble 5 Innovación
première: 05/06/1998, Beethoven-Haus, Bonn / Germany. Ensemble 5 Innovación
• Universal Edition
APPASSIONATO – EN UN SILENCIO ARDIENTE 2002
for flute and ensemble (string quartet, double bass, 2 perc, hp and guitar.10’
commissioned by: Maggio Musicale Fiorentino
première: 20/05/2002, Palazzo Pitti Firenze / Italy. Roberto Fabbriciani (flute), Contempoartensemble / Mauro Ceccanti.
• Universal Edition
CHALAN 2003
for percussion and ensemble ( 2.2.0.1. / 1.1.2.1. / 2 perc / piano / string). 18’
commissioned by: Ensemble musikFabrik and Kulturstiftung NWR
première: 03/12/2003, Funkhaus Wallrafplatz, Cologne / Germany. Trilok Gurtu (percussion), Ensemble musikFabrik/ Stefan Asbury.
• Universal Edition UE 32615 / 32912 (2003)
WALL OF LIGHT RED 2003/04
for saxophone and ensemble (1.1.1.1. / 0.1.1.0. / 3 perc / 1.1.1.1.1.) 17’
commissioned by: Klangforum Wien
première: 06/12/2004, Helmut List-Halle, Graz / Austria. Gerald Preinfalk (saxophone), Klangforum Wien / Beat Furrer.
• Universal Edition
SONETOS DEL AMOR OSCURO. CRIPTA SONORA PARA LUIGI NONO 2003/05
for 2 cantaores, mixed choir, (4A4T4Bar4B), bass flute, double bass, ensemble (clarinet / bass clarinetbajo, 3 perc and string trio) and sound carrier. 64’
commissioned by: Festival Internacional de Música y Danza de Granada and Institut Valencià de la Música. 64’
première: 01/07/2005, Hospital Real, Granada / Spain. Arcángel, Miguel Poveda (cantaores), Roberto Fabbriciani (flute), Uli Fussenegger (double bass) Grup Instrumental de València, Coro de la Generalitat Valenciana / Joan Cerveró. Sound director: Mauricio Sotelo. Images: Sean Scully
• Universal Edition
CUADERNO DE DANZAS 2004
for violin and ensemble (1.0.1.1. / 1.1.0.0. / perc / hp /guit / 1.0.1.1.1.) 20’
commissioned by: Contempoartensemble
première: 06/12/2004, Teatro Pergola, Florence / Italy. Duccio Ceccanti (violin) Contempoartensemble / Mauro Ceccanti
• Universal Edition
RAÍZ DEL AIRE 2005/06
for cantaor and ensemble (flute, clarinet, violin, violoncello y percussion)
première: 24/04/2006 Sendesaal Radio Bremen, Bremen / Germany. Antonio Vélez ‘Pitingo’ (cantaor), Grup Instrumental de València / Joan Cerveró
• Universal Edition UE 33583 / 33585 (2006)
WALL OF LIGHT BLACK – FOR SEAN SCULLY 2005/06
for saxophone and ensemble (1.1.1.1. / 1.1.1.1. / 2 perc / piano / 1.1.1.1.1.) 16’
commissioned by: musikFabrik and Kunststifung NRW
première: 27/08/2006 Funkhaus Cologne / Germany. Marcus Weiss (saxophone), musikFabrik / Brad Lubman
• Universal Edition UE 3
32217 / 33220 (2006)
WALL OF LIGHT SKY 2005/06
for ensemble (flute, clarinet, 2 violins, violoncello and percussion) and sound carrier. 12’
commissioned by: Grup Instrumental de València
première: 24/04/2006, Sendesaal Radio Bremen, Bremen / Germany. Grup Instrumental de València / Joan Cerveró
• Universal Edition.
NIGHT 2007
for percussion and ensemble (1.1.2.1. / 1.1.1.0. / 2 perc / hp / piano / 1.1.1.1.1.) 25’
commissioned by: Casa da Música de Oporto for Remix Ensemble
première: 16/06/2007, Casa da Música, Oporto / Portugal. Miquel Bernat (percussion ), Remix Ensemble / Emilio Pomàrico.
• Universal Edition
DE OSCURA LLAMA 2008
for voice (cantaor), ensemble und sound carrier.50’
première: 08/12/2008, Teatro Jovellanos, Gijón / Spain. Arcángel (Cantaor), Roberto Fabbriciani (flute) Stefano Scodanibbio (double bass), Ensemble RESIDENCIAS: Carlos Glavez (clarinet), Miguel Borrego (violin), José Miguel Gómez (violoncello) Juan Carlos Garvayo (piano), Juanjo Guillem and Rafa Gálvez (percussion) / Mauricio Sotelo
• Universal Edition
for guitar and ensemble. 23’
commissioned by: Grup Instrumental de Valencia
première: 18/09/2009,Teatro Principal, Alicante /Spain. Juan Manuel Cañizares (guitar), Grup Instrumental de Valencia /Joan Cerveró
• Universal Edition
KlangMuro …I 2009
for flute, double bass and ensemble. 25’
commissioned by: Klangforum Wien
première: 09/10/2009, Helmuth List-Halle, Graz /Austria. Vera Fischer (fl.), Uli Fussenegger (db.) Klangforum Wien / Rolf Gupta
• Universal Edition
ALTER KLANG 2009/2010
for cantaor, guitar and string quartet
commissioned by: Quatuor Diotima
première: 17/02/2010, Auditorio Nacional de Música, Madrid / Spain. Quatuor Diotima, JM Cañizares (guitar), Arcángel (cantaor)
• Universal Edition
CRIPTA COLONIA GÜELL – MÚSICA PARA LA ESMUC 2010
for 2 voices (cantaoras), mixed choir, ensemble (1.0.2.0-0.0.0.0, timp, perc(2), hp, acc, pno, vln, guit, vla, vc, cb) and electronics. 25’
commissioned by: Escola Superior de Música de Catalunya
première: 25/10/2010, L’Auditori, Barcelona / Spain. Solisten-Ensemble / Mauricio Sotelo (dir.)
• Universal Edition
MUERTE SIN FIN 2010
for for dancer, cantaor and ensemble. 34’
commissioned by: Biënale Flamenco 2011
première: 30/01/2011, Muziekgebow Amsterdam/Netherlands. Niew Ensemble / Ed Spanjaard
• Universal Edition
ALPHA CENTAURI 2010
for ensemble and electronics. 19’
commissioned by: Ensemble Espai Sonor
première: 31/01/2011, Centro de Arte Reina Sofia, Auditorio 400, Madrid / Spain. Espai Sonor / Voro García
• Universal Edition
MUERTE SIN FIN … COMENTARIO, a la memoria de Enrique Morente 2011
for reciter, bailaora, cantaor, ensemble and electronics. 72’
text: José Gorostiza
première: 29/06/2011, Teatro Real, Madrid / Spain. Juan Diego (recitation), Fuensanta “La Moneta” (bailaora), Arcangel (cantaor) / Mauricio Sotelo
• Universal Edition
MAPAS CELESTES…I 2011
for ensemble (flute, clarinet, horn, percussion, piano, violin and violoncello) and electronics. 15’
commissioned by: Sociedad Filarmónica de Badajoz
première: 01/12/2011, Badajoz / España. Neo Ars Ensemble
• Universal Edition
KLANGMURO …II 2012
for ensemble (principal violin). 17’
commissioned by: IVM and CNDM/Inaem
première: 29/05/2012, Centro del Carmen, Valencia / España,
30/05/2012, Auditorio Nacional de Música, Madrid / España
Mª Carmen Antequera (violin), Grup Instrumental/ Jordi Bernàcer
• Universal Edition
CRIPTA – MÚSICA PARA MANUEL DE FALLA 2012
for ensemble and electronics. 15’
commissioned by: ContempoArt–Ensemble
première: 07/ 06. 2012, Teatro Goldoni, “Maggio musicale Fiorentino”, Firenze / Italia
ContempoArt-Ensemble / Mauro Ceccanti
• Universal Edition
PLAZA ALTA 2016
for ensemble [Fl., Clar., Alt-Sax., Vl., Vc., Pn., Perc.] 5’
commissioned by: Sociedad Filarmónica de Badajoz/CNDM
première: 17/10/2016, Badajoz. Sonido Extremo/ Jordi Francés
• Proyecto Sotelo SL
RED INNER LIGHT-VIITASAARI NIGHT 2016
for ensemble [Fl., Vl., Va., 2 Pno., Perc.]. ca. 8’
première: 10/07/2016. ‘Time of Music’, Viitasaari/Finland. P. Mauricio Sotelo-Romero (vn), Liza Reid (va), Maria Lund (fl), Irene Bianco (perc), Magdalena Cerezo (pno), Jana Luksts (pno).
• Proyecto Sotelo SL
CINCO SONATAS DE DOMENICO SCARLATTI (K107, K184, K 450, K455, K87) 2020
for clarinet, piano and string quartet (with flamenco percussion ad libitum) ca. 30’
commissioned by: MusicaSur
première: 22/09/2020, Teatro Calderón/ Motril/ Spain; Fuensanta "La Moneta", flamenco dance; JE Lluna, clarinet; JC Garvayo, piano; Agustín Diassera, flamenco percussion; QUATUOR DIOTIMA.
• Universal Edition
(check position 6:06)DOS PRELUDIOS DE CHOPIN (Nr. 4 & Nr. 8) 2020
for clarinet, piano and string quartet (with flamenco percussion ad libitum) ca. 10’
commissioned by: MusicaSur
première: 22/09/2020, Teatro Calderón/ Motril/ Spain; Fuensanta "La Moneta", flamenco dance; JE Lluna, clarinet; JC Garvayo, piano; Agustín Diassera, flamenco percussion; QUATUOR DIOTIMA.
• Universal Edition
(check position 29:29)
ESCULTURA DE ROJA LUZ INTERNA 2020
for clarinet, piano and string quartet (with flamenco percussion ad libitum) ca. 15’
commissioned by: MusicaSur
première: 22/09/2020, Teatro Calderón/ Motril/ Spain; Fuensanta "La Moneta", flamenco dance; JE Lluna, clarinet; JC Garvayo, piano; Agustín Diassera, flamenco percussion; QUATUOR DIOTIMA.
• Universal Edition
(check position 43:20)
A MITAD DEL CAMINO DE LA VIDA 2020
Fragments from Dante’s Comedia traslated by José María Micó.
commissioned by: CNDM
première: 10/5/2021. Auditorio 400 Reina Sofía. Madrid/ Spain.
• Proyecto Sotelo SL
DE IMAGINUM, SIGNORUM ET IDEARUM COMPOSITIONE II 2021
• Universal Edition
Works written before 1989 have been withdrawn by the composer
• Málaga (1984), soprano and ensemble (flute, clarinet, horn, percussion, guitar and string trio)
• Retrato de un andamio (1984), clarinet, trombone y vibraphone
• Soleá (1984), clarinet, horn, viola y vibraphone
• El Guardián de la Posibilidad I 1987
for soprano and ensemble (1.1.1.0. / trombone / piano / percussion /guitar / viola, violoncello) 17’
Text by Andrés Ibáñez
première: 08/02/1987, Círculo de Bellas Artes, Madrid / Spain. Adelina Álvarez (soprano), Grupo Círculo / José Luis Temes.
• El Guardián de la Posibilidad II 1987
for flute, clarinet, percussion, piano, viola y violoncello
• … El l’avare Silence 1987
for ensemble (1.1.1.1. / tuba / 2 perc/ piano / 1.1.1.1.)17’
première: 21/12/1988, Auditorio Nacional de Música, Madrid. Grupo Círculo / José Luis Temes
• Quando il cielo si oscura I 1988, saxophone
for saxophon and ensemble (1st Prize SGAE 1989)
Edition Contemp-Art.
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Mauricio Sotelo's music is one of the most intense illuminations that, in the air of sounds, can find the semantics of words. I heard about Mauricio from one of the greatest composers of our time, Luigi Nono, who I met in 1988 at the Institut for Advanced Study in Berlin. Luigi was the one who asked me if I knew a young Spanish composer about whom, I confess, knew nothing about. Since then, the admiration I felt for Nono is linked to the person and music of Mauricio. The work of two disappeared friends [Luigi Nono and José Ángel Valente] grows, lasts, illuminates and survives in the prodigious sound universe of Mauricio Sotelo.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of norms of the second half of the twentieth century. You use "flamenco" as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of standards of the second half of the twentieth century. You use flamenco as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".