Tracto for Guitar Quartet

Tracto: lapse of time, space between two places. The musical form, as a problem, has a long history in the occidental music, mainly from the beginning of the 20th century. That so many weight and wear bears the material are aspects that, of an organic way, determine the formal resolution of a work. If we alternate the sense of repetition and the spatial-temporal layout of the elements so the expectations of the musical narrative (from the composer's point of view when he composes) are permanently "altered", then we arrive to a non-organic formal resolution, this is what I've been looking for in my recent compositions. I understand this formal exploration as a "random form":literally, the musical elements are distributed in a lapse of time in a random way, without considering the "before" or the "after": each element ( that can be very general, long or short) for a start has no relation with its environment but has to built bridges with the other ones. From this construction comes up, I hope, the possibility of many interpretations, an "all-purpose" composition. Tracto was commissioned by Santa Maria's quartet to which is dedicated.