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Josep Maria Mestres Quadreny
Tres cànons en homenatge a Galileu
Tres cànons en homenatge a Galileu
1966
Josep Maria Mestres Quadreny treated his scores as a work of art. Retaining their formal beauty and highly conceptual and experimental nature, they were referred to as ‘visual music’. Such is the case with Aronada (1971) – a word derived from Sanskrit and referring to the ‘circle of audible sounds’ –, a targetshaped score that can be played by any instrument for an indefinite length of time. Written by his friend Joan Brossa, Suite bufa (1966) is a theatrical action of linked sequences between a piano, a soprano and a dancer. In Quartet de Catroc (1962) – the title is again by Brossa –, a graphic score in three movements can be played at different tempos chosen at random by the musicians, thus providing an infinite combination of sound textures. Tres cànons en homenatge a Galileu (1965) uses live electronic media, in which the performer plays a piece that is recorded on tape, and which is then played back introducing different delays, so creating a perfect threevoice canon. Doble Concert per a Ones Martenot (1970) is the first work in Spain – and one of the first in the world – to be written entirely by computer.
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original title
Tres cànons en homenatge a Galileu
year of acquisition
2010
type of object
Graphic material
dimensions
24 elements de mides diverses
Copyright
© Heirs of Josep Maria Mestres Quadreny
registration number
R.4094
date
1966
fonds
MACBA Collection. MACBA Consortium
media
Ink and pencil on paper and ink and reprographics on copy paper
credits
MACBA Collection. MACBA Consortium
original title
Tres cànons en homenatge a Galileu
registration number
R.4094
date
1966
year of acquisition
2010
fonds
MACBA Collection. MACBA Consortium
type of object
Graphic material
media
Ink and pencil on paper and ink and reprographics on copy paper
dimensions
24 elements de mides diverses
credits
MACBA Collection. MACBA Consortium
Copyright
© Heirs of Josep Maria Mestres Quadreny
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