ADRIEN TSILOGIANNIS

"Portait de Bat Enosh has a very clear narrative and dramatic arc. The musical language evokes gentle tenderness and light, which is very suitable to the subject matter at hand. The composer works within a consistent sound world, while taking the material through different landscapes, like a river flowing through varied topographies, interacting with a changing riverbed and variation in the patterns of light and shadow. There is very good melodic use and thematic development throughout, and effective contrapuntal writing. The music takes us to some unexpected directions and demonstrates the composer’s wonderful ear and intuition. The slower passages are particularly beautiful, moving and impressive. The composer is able to sustain a longer structure. “S’élancer” has a similarly consistent style, but showcases a different character. The composer’s storytelling abilities are very impressive, but could be further enriched by exploring the greater variety of colour that each instrument is capable of producing."

JOSÉ COLLADO

"Joie de vivre is genuine, spontaneous and well constructed. The jury was particularly drawn to the blossoming, blissfully meditative opening gestures, which give the piece such a clear character. The feeling of the title comes across very well, though the first half of the piece exhibits more emotional and musical subtlety than the ending. It is refreshing to hear a piece of contemporary music successfully exploring more joyful emotional territory. The harmonic climate is very clear and often reassuring. There is a confidence in the use of instruments and clarity of ideas. The piece has a post-rock and post-minimalist feel with compelling use of the electric guitar."

LUIS QUINTANA

"The jury found Smudges over dripping ink to have a very strong personality and confidence,. The composer constructed a compelling, unified and unusual sound world for this work. The textures, and harmonic and timbral exploration are strongly evocative of the title. The composer demonstrates an advanced use of rhythm. The particular combination of harmonic structures and instrumental techniques create illusions of electronics and instruments not present in the ensemble. The piano writing particularly shines through, with other instruments emerging out of its resonance. Some instrumental techniques, such as quarter tones and glissandi, could perhaps use a little more detail and individuality to fully convey the composer’s intention. “Textos Invisibles” wonderfully demonstrates the consistency of the composer’s voice and makes us want to hear more."