Decibellic - Q R N T - 40 Nocturnes for Electronic Orchestra

Movement One:
I - 00:17
II - 02:28
III - 03:55
IV - 05:32
V - 06:40
VI - 09:09
VII - 10:18
VIII - 11:19
IX - 12:10
X - 13:31
Movement Two:
I - 15:28
II - 16:58
III - 18:11
IV - 19:12
V - 20:11
VI - 21:32
VII - 22:41
VIII - 23:38
IX - 24:31
X - 26:00
Movement Three:
I - 27:37
II - 29:10
III - 30:29
IV - 31:50
V - 32:50
VI - 33:47
VII - 35:05
VIII - 36:41
IX - 37:58
X - 39:28
Movement Four:
I - 40:55
II - 42:21
III - 43:37
IV - 44:40
V - 46:50
VI - 48:21
VII - 49:32
VIII - 51:21
IX - 52:24
X - 54:55
Electronic music in its higher development arrived to the conclusion that sound design is what leads to improvement and what we actually should expect from electronic music. This is a trend observed already in the development of western classical music where the "ambient", during the late romantic period, started to gain more attention than the "structure" itself, leading to the development of those fantastic sonorities that characterize the XXth century. With the "QRNT" I didn't want to focus on the ambient, but on the structure, I didn't want to develop sounds, but dialogue of sounds which is what makes music alive. In electronic music, for me, no one has ever done so, no one has taken electronic instruments and developed them as an articulated organic that resembles an orchestra, no one in electronic music has asked what "development" means - this is why I wanted to create something totally different, more musical.
Initially set to be around 10 minutes, these small inventions were almost self-elaborating themselves to the point that I decided there was going to be a certain structure that would've defined this work.
This piece has been composed in spring 2018, with few adjustements encountered in 2021 and 2023. Initially there were choral and orchestral parts, but I've decided that I'm not ready yet to bring these two fields together.
QRNT are the consonants in the romance words for "forty" (quarante, quaranta) which means "forty", the number of total inventions in the opus.