"Noche: from Canciones de amor y la noche" genre: Contemporary
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	Canciones de amor y la noche is scored for voice, electronics, and twelve players. The ensemble is divided into three quartets. The first quartet is a wind quartet; the second quartet includes guitar, two percussionists, and synthesizer; and the third quartet is composed of trumpet and string trio. The whole work is ordered as a series of alternating instrumental episodes and songs: I–crepúsculo (2nd quartet), II–Noche (full ensemble), III–noche oscuro (1st quartet), IV–Cruz (full ensemble), V–noche transluciente (3rd quartet), VI–Madrugada (full ensemble), VII–epílogo (solo voice and electronics). The texts for the three songs (movements II, IV, and VI) are taken from Federico García Lorca’s Poema del Cante Jondo. The Cante Jondo is a style of singing of the Andalusian Gypsies, and predates Flamenco. Micro-tonal inflections, portamento, ornate embellishments, and a modal palette sung with characteristically free rhythms contribute to a distinctive vocal style that is profoundly expressive. The melodic writing in Canciones is inspired by this style of singing. Canciones employs three distinct types of pitch structures and explores various possible relationships between them. The three categories of pitch structures are: 1) harmonies based on the overtone series over a given fundamental; 2) chords derived from frequency modulation (FM) synthesis generated spectra, where the carrier frequencies and modulating frequencies are pitches of structural significance in the vocal line; and 3) scales of fixed or limited transposition which are derived from interval patterns of the vocal melody. These pitch structures are treated as harmonic fields, which constitute a musical topography navigated by the melodic material of the ensemble. The instrumental melodies tend to echo or presage melodic figurations in the vocal line; they are, however, often distorted, elaborated, or condensed versions of their vocal counterparts.
	Credits: Rajna Klaser, voice

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