Music, a Mysterious Form of Time , Says a Famous Line by Jorge-Luis Borges

R A M O N L A Z K A N O

“Music, a mysterious form of time”, says a famous line by Jorge-Luis Borges.

The work of Ramon Lazkano originates in this basic dimension of music. The way his pieces progressand the gradual “erosion” of the elements linking them (a process of erosion that demands a certain materiality of the sound, which thus becomes its most striking characteristic) make allusion to how we understand and sense the passage of time, how wear and tear set in, leading tothe inevitable but unimaginable endof everything it contains.The progression of his pieces “enables us to grasp our own passage towards death”.Since music is time, every time we listen brings us one step nearer the ultimate end.

Again, the elements (water and fire) and materials (wood, chalk, stone…) invoked by the titles of the composer’s pieces also refer to metamorphosis and erosion, as do the Steles and Tombs, again devoted to dissolution, that occur throughout his work.

For like Schütz’s work before him, Lazkano’s work is basically a Memento Mori, a meditation on death, something radically outside the practice of today’s civilisation.It is from this contemplation of the unfathomable that his work draws its power and lucidity.

Ramon Lazkano was born inSan Sebastián in 1968. He followed classes in piano and composition at the Conservatoire of his home-town in the first place, terminating with a Higher Diploma in composition. The young composer then set his sights on Paris; everything was in favour of such a move – the geographical proximity of San Sebastián, (only eighteen kilometres from the French border), his family’s love of France and all things French, and last of all, his musical genealogy (Francisco Escudero, his composition professor, had studied music in Paris, and met Dukas and Ravel).So he continued his music studies at Higher National Conservatoire of Paris, going to classes in orchestrationand compositionwithGérard Grisey and Alain Bancquart respectively. After gaining a First Prize in 1990, Ramon Lazkano felt the need to broaden his perspectives. Circumstances took him to Montreal, where he was able to attendthe Conservatoireto study composition and analysiswith Gilles Tremblay. The Canadian composer was able to explain Messiaen and Varèse to him, “with touching closeness”.

Once back in Paris, Lazkano spent his time conducting, taking his first lessons with Jean-Sébastien Béreau and Arturo Tamayo; parallel to this he was following a course at the College for Higher Education in the Social Sciences.His dissertation,Polyrhythmsin 20th C. classical music: a historical and critical approach (Messiaen, Ligeti, Carter), earned him a Diploma of Further Study in 20th century Music and Musicology.

At the age of twenty-six, Ramon Lazkano received the prestigious Prince Pierre of Monaco Foundation Awardfor his piano concertoHitzaurre Bi. Shortly afterwards, in 1997, hisAuhen Kantuak brought him the Leonard Bernstein-Jerusalem Prize,awarded by a panel whose president was Luciano Berio. Ramon Lazkano has also received awards from the Institute of Theatrical and Musical Arts, the College of Spain and the Gaudeamus Foundation. His residency with the National Youth Orchestra of Spain (JONDE) gave him the chance to compose several works, performed in the National Auditorium in Madrid and the Berlin Konzerthaus, to name only two venues. In 1999 he was invited to Stanford University in the USAto make a presentation of his music, and in the same year he accompanied Luis de Pablo in his residency at theNational Research Centre in Strasbourg and the Musica Festival. He used his two stays in Rome (first as a scholarship holder at the Spanish Academy of History, Archaeologyand Fine Art, then at the French Academy - Villa Médicis) for some in-depth reflectionon contemporary composition and what it means, with particular emphasis on intertextuality, saturation, silenceand the experience of sound and time. Some of his most emblematic pieces emerged from this period, such asIlunkor, Lur-Itzalak, andOrtzi Isilak (commissioned respectively by the Euskadiko Orkestra Sinfonikoa, the Printemps des Arts de Monte Carlo and the Orquesta Nacional de España).

Ramon Lazkano has many distinctions to his name from major musical and cultural institutions; his worksare performed regularly at some of the world’s most prestigious music festivals.

Ramon Lazkano has taught orchestration atthe Strasbourg Conservatoire and composition at the Grande Ecole for Teacher Training in Barcelona. He now teachesorchestration at the Basque Higher Music Centre (Musikene).

Pascal Ianco

Catalogue of works published by Éditions du Chant du Monde

Instrumental works

Aztarnak (2000)

for accordion
Commissioned by the Asociación de Acordeonistas del País Vasco
First performance: Iñaki Alberdi - November 2001, Barcelona

Timing: 7'

Bakarrizketa-2 (1993)

for guitar
First performance: Eugenio Tobalina - 1994

Timing: 11'

Bakarrizketa-3 (1996)

for flute
First performance: Machiko Takahashi - 1997, Amsterdam

Timing: 5'

Bakarrizketa-4 (2000)

for piano
Commissioned by the Quincena Musical de San Sebastián
First performance: Jean-François Heisser - August 2000, Kursaal of San Sebastián

Timing: 12'

Ezkil (2002)

for guitar (scordatura in quarter-tones)
Commissioned by the Instituto Valenciano de la Música: José Luis Ruiz del Puerto - December 2002, Palau de la Musica de Valencia

Timing: 6'

Ilargi Uneak (1996)

for piano: 1.-Izar 2 .-Ekhi (left hand) 3.-Urtzi
First performance: Patrick Zygmanowski - 2000, Paris

Timing: 8'

Otoitz (1996)

for clarinet

Timing: 6'

Presencia (in memoriam Joaquim Homs) (2005)

for piano

First performance: Jordi Masó - 2006

Timing: 3'

Seaska Kanta (Lullaby) (1998)

for piano

Timing: 2'

Sonatina(1996)

for guitar in quarter-tones

First performance: Caroline Delume - March 2003, Paris

Timing: 6'

Sorgindantza (2000)

for organ
Timing: Hervé Désarbre, 2001

Timing: 3'

Suziri (1999)

for piano
First performance: Ananda Sukarlan - June 2000, Alicante

Timing: 2'

Chamber Music

Argilunak (1989)

for baritone saxophoneand 2 cellos
First performance: 1990, Radio France, Paris

Timing: 12'

Aurresku (2000) f

for saxophone quartet, piano and two percussion instruments
First performance: Sax Ensemble, conductor José de Eusebio –December 2000, Auditorio Nacional de Madrid

Timing: 2'30"

Bihurketak (1991)

for violin, cello and piano
First performance: Wozzeck Trio - December 1993, Hessischer Rundfunk ( Hesse Radio, Germany)

Timing: 9'

Chant II (1989)

for viola and tapeor principal viola plus four violas
First performance: Sabine Toutain - March 1990, Radio France, Paris

Timing: 11'

Chant III (1990)

for bass clarinet, 3 trombones and 3 cellos
Commissioned by the Quincena Musical de San Sebastián
First performance: José Miguel Martínez Esparza, soloists of the Euskadiko Orkestra Sinfonikoa, conductor Jesús María Echeverría - August 1990

Timing: 16'

Eskaintza (1992)

for ensemble (violin, flute, oboe, clarinet, horn, trumpet, trombone, percussion)
Commissioned by the Quincena Musical de San Sebastián
First performance: Jesus Guridi Ensemble, conductor Juan Jose Mena - August 1992

Timing: 9'

Hitzaro (1994)

for flute in Gand guitar
First performance: Didier Aschour, Amélie Berson - April 1994, Paris

Timing: 14'

Hizkirimiri (1999)

for bass clarinet, guitar, marimba and double bass
First performance: Ensemble Accroche Note - September 1999, Strasbourg Musica Festival

Timing: 12'

Hizpide (1995)

for viola, flute in Gand guitar
First performance: Suonare a Tre - May 1996, The Stedelijk Museum, Amsterdam

Timing: 14'

Hodeiertz (1997)

for alto saxophone and percussion (1 percussionist)
First performance: Josetxo Silguero, Jesus Mari Garmendia - August 1997, Quincena Musical de San Sebastián

Durée: 10’

Igeltsoen Laborategia (Laboratory of Chalks):

-Hatsik-1 (2001)

for small clarinet, trombone, cello and piano
Commissioned by the Eusko Jaurlaritzako Kultur Saila
First performance: Wiener Collage Ensemble - October 2001, Vienna

Timing: 5'

-Hatsik-2 (2002)

for alto saxophone, double bass, accordion and percussion
First performance: Wiener Collage Ensemble - November 2003, Bruckner Hall, Linz

Timing: 3'30"

-Laiotz (2003)

for 2 pianos and 2 percussion instruments

Five pieces: Laiotz-1, Laiotz-2, Laiotz-3, Laiotz-4, Laiotz-5

Commissioned by Radio France
First performance (recorded radio programme): Patrick Zygmanowski, Tamayo Ikeda, FlorentJodelet, François Desforges - September 2004, commissioned by theAlla Breveof Radio France, Paris

Timing: 10'

-Hatsik-3 (2004)

for violin, clarinet, alto saxophone alto and piano
Commissioned by the Eusko Jaurlaritzako Kultur Saila
First performance: Taller Sonoro Ensemble - February 2005, Cadiz

Timing: 6'30"

-Wintersonnenwende-1 (2005)

forstring trioand celesta
First performance: Wiener Collage Ensemble - December 2005, Schönberg Center, Vienna

Timing: 2'30"

-Egan-1 (2006)

for ensemble of flute, B flat clarinet, horn, trumpet, percussion, violin, viola, cello

Durée: 3'

-Egan-2 (2006-07) for ensemble (fl, cl, perc, piano, vn, c)

-First performance: Taller Sonoro - March 2007, Grenada / Seville

Timing: 8'

-Egan-3 (2007) for ensemble (b.cl, acc, perc, piano, vn, vla, c, db)
Commissioned by the Why Note Festival
First performance: Ensemble XXI - November 2007, Dijon

Timing: 10'

-Wintersonnenwende-2 (2007) for cello and piano: I-II
Commissioned by the Eusko Jaurlaritzako Kultur Saila

Timing: 3'30" et 3'50"

Itzalen Zikloa (Cycle of Shadows):

-Su-Itzalak (1991)

for eight cellos
SPECIAL MENTION IN THE GAUDEAMUS COMPETITION
First performance: Festival Présences –January 1992, Radio France, Paris

Timing: 12'

-Haize-Itzalak (2002)

for string sextet (3 violins, 2 violas, cello)
First performance: Wiener Collage Ensemble - December 2002, Arnold Schönberg Center, Vienna

Timing: 12'

-Lur-Itzalak (2003)

for violin and cello

Commissioned by the Printemps des Arts of Monte Carlo
First performance: Lisa Kerob, Thierry Amady - April 2004, Monaco

Timing: 9'

Izotz (1993)

for string quartet
First performance: Miguel Jiménez, David Marco, David Mata, Cristina Pozas – January 1996, Residencia de Estudiantes of Madrid

Timing: 16'

Nahasmahasi (2002)

for flute, alto saxophone, guitar, piano and percussion (1 percussionist)
State commission for the Proxima Centauri Ensemble
First performance: Proxima Centauri Ensemble - December 2002, TNT Bordeaux

Timing: 12'

Quinteto (1991)

for wind quintet (flute, clarinet/bass clarinet, oboe/French horn, horn, bassoon)
Commissioned by the Fundación Juan March
First performance: Quinteto Pablo Sorozabal - May 1992, Musikaste de Errenteria

Timing: 22'

Sorginkeriak (1995)

for small ensemble (flute, clarinet, violin, cello, piano, vibraphone)
First performance: Barcelona 216 Ensemble, conductor Ernest Martínez Izquierdo - March 1996, Ars Musica of Brussels

Timing: 12'

Seaska Kanta (Berceuse) (1998)

for flute and string quintet (or orchestra)

Timing: 2’

Ur Loak (1998)

for bass flute, double bass clarinet, double string quintet and two percussion instr.
Commissioned by the Joven Orquesta Nacional de España
First performance: Joven Orquesta Nacional de España, conductor Josep Caballé - October 1998, Auditorio Nacional de Madrid

Timing: 16'

Orchestral Works

Eriden (1997-98)

for chamber orchestra (1.1.1.1 - 1.1.1.0 - 2 perc – cel – strings 1.1.1.1.1)
Commissioned by Radio France
First performance: Orchestre Philharmonique de Radio France, conductor Laurent Cuniot - June 1999, Radio France, Paris

Timing: 18'

Hauskor (2006)

for 8 cellosand orchestra (3.2.3.2 - 4.3.3.1 – perc – strings 16.16.0.0.8)
Commissioned by the Orquesta Sinfónica de la Comunidad de Madrid
First performance: Conjunto Ibérico de Violoncellos, ORCAM, José Ramón Encinar - November 2006, Auditorio Nacional (Madrid)

Timing: 20'

Hilarriak (2002-2003)

for orchestra (2.2.2.2-2.2.2.0 - 2 perc - strings)
1. Horia 2. Urdina 3. Beltza 4. Muskerra
State commission for Jean-François Heisser
First performance: Orchestre de Poitou-Charentes, conductor Jean-François Heisser - May 2003, Festival de l'Épau, Le Mans

Timing: 20'

Hitzaurre Bi (1993)

for piano and orchestra (2.2.2.2 - 2.1.1.0 – perc –strings 10.10.8.6.4)
THE PRINCE PIERRE OF MONACO FOUNDATION PRIZE
First performance: Orchestre du CNSMP, piano: Patrick Zygmanowski, conductor Jean-Sébastien Béreau - October 1993, Conservatoire National de Paris
Bilbao Symphony Orchestra, piano Marta Zabaleta, conductor Juan José Mena –February 1995, Teatro Arriaga de Bilbao

Timing: 17'

Ilgora (1998)

for string orchestra (min 5-4-3-2-1)
Commissioned by the Fundación Don Juan de Borbón
First performance: Orquesta de Cámara Carlos III - August 1999, Segovia Festival

Timing: 10'

Ilunkor (2000-01)

for orchestra (3.3.3.3 - 4.3.3.1 -timp - 3 perc – harp - strings)
Commissioned by the Euskadiko Orkestra Sinfonikoa
First performance: Euskadiko Orkestra Sinfonikoa, conductor Gilbert Varga - October 2002, Kursaal de San Sebastián

Timing: 27'

Itaun (2003)

for accordion and orchestra (2.2.2.2 - 2.1.1.0 – perc –strings 10.10.8.6.4)
Commissioned by the Eusko Jaurlaritzako Kultur Saila
First performance: St. Petersburg Hermitage Orchestra, accordion Iñaki Alberdi, conductor Alexis Soriano - October 2003, St. Petersburg Hermitage Concert Hall

Timing: 17'

Ortzi Isilak (2005)

for clarinetand orchestra (2.2.2.2 - 4.2.2.0 - 3 perc – clarinet - strings)
Commissioned by the Orquesta Nacional de España
First performance: Enrique Pérez Piquer (clarinet) , conductor Rumon Gamba – April 2006, Auditorio Nacional (Madrid)

Timing: 15'

Oskorriz (1990)

for orchestra (3.3.3.3 - 4.3.3.0 – perc – piano - strings 12.12.10.8.6)
SPECIAL MENTION, THE JONDE [Spanish National Youth Orchestra] COMPETITION
First performance: Euskadiko Orkestra Sinfonikoa, conductor Grzegorz Nowak - March 1993, San Sebastián

Timing: 17'

Zur-Haitz (1999)

for orchestra (4.2.4.3 - 4.3.3.1 – perc – celesta - strings 16.16.14.10.8)
Commissioned by the Joven Orquesta Nacional de España
First performance: Joven Orquesta Nacional de España, conductor Pablo González - January 2000, Auditori de Barcelona
Joven Orquesta Nacional de España, conductor Edmon Colomer - August 2001,

Berlin Konzerthaus

Timing: 12'

Vocal Music

Auhen Kantuak (1993-95, 1997)

for choirs and orchestra (2.2.4.0 - 4.2.3.0 – perc - cordes 0.0.10.8.4)
LEONARD BERNSTEIN FOUNDATION (Jerusalem) AWARD
Texts from theLamentations of Jeremiahtranslated into Basqueby Itxaro Borda.
First performance: Kodaly Choir from Debrecen, Jerusalem Symphony Orchestra, conductor Mendi Rodan - December 1997, Henry Crown Hall, Jerusalem

Timing for the version with 7 movements: 55'
Timing for the version with 5 movements (II, IV, III, VI, VII): 40'

Canciones de Ausencia (1999)

for voice, guitarand cello
Poems by Miguel Hernández.
First performanc : Caroline Potrel, Justine Laurenceau, Philippe Mouratoglou - September 1999, Strasbourg Musica Festival

Timing: 9'

Cinco poemas de Luis Cernuda (2000-02)

for voice and cello octet
1.- El Prisionero 2.- El Viento y el Alma 3.- Instrumento Mûsico 4.- El Sino 5.- El Intruso
Commissioned by the Centro para la Difusión de la Música Contemporánea
First performance: Pilar Jurado, Conjunto Ibérico de Violoncellos, conductor Elias Arizcuren - October 2001, Alicante Festival

Timing: 14'

Hiru seaska kanta eta etsipen abesti bat (1991)

for voice and string quartet

Timing: 12'

Infantia Mea (2004)

for eight voices (mixed). Words by Saint Augustine.

Timing: 6'

Leherketa batetako hotsak (1988)

for baritone, narrator and ensemble
(2 bass clarinets, double bass clarinet, 2 horns, tuba, 2 cellos, double bass, 2 percussion instr.). Poem in Basque by Patxi Ezkiaga
First performance: June 1989, Radio France, Paris

Timing: 17'

Les Djinns (1993)

for children’s choir andconcert band. Poem by Victor Hugo.
Commissioned by the ADIAM for the choirs of the Junior High Schoolsof Les Yvelines
First performance: June 1993, Marly-le-Roi

Timing: 25'

Madrigal (1991) for five voices. Words by Catullus, Cernuda and Gil de Biedma.
Commissioned by the Ensemble Territoires
First performance: Ensemble Territoires, conductor Denis Laborde - January 1992, Paris

Timing: 10'

Malkoak euri balira (2005)

for 12 voices and guitar. Poem by Xabier Lete.
Commissioned by the Choeur de Chambre de Strasbourg
First performance: Choeur de Chambre de Strasbourg, guitar: Pablo Márquez, conductor Catherine Bolzinger - 6 October 2005, Strasbourg Musical Festival

Timing: 19'

Orchestrations

Lorca - Canciones Antiguas Españolas
for voice and ensemble (flute/flute in G, clarinet/bass clarinet, horn, guitar, violin, viola, cello - 1996)
State commission for the Ensemble Alternance

Moussorgsky –Songs and Dances of Death
for voice and small orchestra (1994)
Commissioned by the Festival de Saint-Denis
First performance: Dmitri Hvorostovsky, Orchestre de Picardie, conductor Louis Langrée - July 1994

Publications

La guitare dans notre imaginaire[The guitar in our imagination], in«Guitares croisées - utopie ou réalité? » [Crossing Guitars – a utopian ideal or a real possibility?]

Proceedings of a symposium, CNR (National Research Centre), Strasbourg, 2004.

“Two Feelings” with Lachenmann, in “Contemporary Music Review”, vol. 23, September 2004, .

El sonido como elemento natural de la deducción compositiva, in “Ontology Studies - Cuadernos de Ontología”, vol. 1-2, 2001.

Préliminaires pour une étude de la polyrythmie[First stages for a study of polyrhythm], in “Musiker”, vol. 11, 1999.

Ramon Lazkano’s website can be consulted at the following address:

Photo of Ramon Lazkano:Karlos Corbella

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