![409300118_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253167/d7e5bd7deef91d25a6c1de5476ff64f4/full/large/0/default.jpg)
![409300201_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253171/de74e900626b3faa6f7c1db8824ae036/full/large/0/default.jpg)
![409300202_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253173/f8474540ad00e35a9491ce7b94f1ac80/full/large/0/default.jpg)
![4093003_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253175/47022e5f93a51fba3f662ec691674291/full/large/0/default.jpg)
![4093004_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253177/6e5b9ed73b4e0e63f8a6d4b2143e1cb5/full/large/0/default.jpg)
![4093004_002_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253179/8edd87f90fe7a70a39d72bca2847d6ea/full/large/0/default.jpg)
![4093004_003_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253181/e52f809fd5a782d24204760346cf8fde/full/large/0/default.jpg)
![409300118_001_rgb--imatge-suite-bufa](https://d2zy2h1755x359.cloudfront.net/public/DigitalAsset/253167/d7e5bd7deef91d25a6c1de5476ff64f4/full/large/0/default.jpg)
Josep Maria Mestres Quadreny
Suite bufa
Suite bufa
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.
see more
show less
The texts of the MACBA web draw on previous documentation. Please let us know if you find any errors.
Enquiry the
MACBA Library
for more information on the work or artist.
If you want to make a work loan request, go to colleccio@macba.cat.
If you want the image of the work in high resolution, you can send an image loan request.
If you want to make a work loan request, go to colleccio@macba.cat.
If you want the image of the work in high resolution, you can send an image loan request.
contact
for more information, please contact us through the following links
for further information
Image loan request