Víctor Carbajo

Spanish composer and pianist born in Madrid.

He’s interested in expansive systems of musical analysis, he creates concrete techniques that grow from the need of solving the problems that appear upon asking questions on the work of art, being these musical, literary, pictorial or of any other type. For the application of these analytical techniques, consisting of adittional modules for a specific operation, he uses various branches of the knowledge, such as philosophy, biology, mathematics or physics. He also uses concepts as language, form, idea, style, proportion, invention, et cetera, that are transmitted throughout the History, from work to work, from art to art. They are analyzed and became trasferable information, capable of being used objectively (or subjectively) to explain or to create what is wished. These artistic analysis systems are revealed in his essays (largely musical), among those we have to bear in mind two kinds of essays:

Essays on general ideas:

• Coherence in contrast from Bach to Debussy.
• History of the Musical Inertia.
• Progressions in Bach: types and characteristics.
• Coagulations in Bach.
• Mozartiana Combining.
• Forms nestled in Debussy.
• Stratified Grieg.
• The dodecaphonic series in Schoenberg and Webern.
• Selfsimilars dodecaphonic series.
• Musicals Lindenmayer systems.
• Dangers of the programmatic music.
• Musical morphology: order and chaos.
• On the musical interpretation and the creation of energy.
• Poetic forms: historical operation.
• Implicit literary forms.
• Not communicative languages.
• Cyclical numbers without base.
• Ideas to skin flower in corporative entity designs.

Essays on concrete works:

• The tonality in Anton Webern: Variations for piano, Op. 27.
• Expressive statistics. Britten: Six metamorphosis for solo oboe, Op. 49.
• Inertia Sacrifices. Bach: Est Ist Genug, BWV 60.
• Diagonal proportions. Bartók: Contrasts for clarinet, violin and piano.
• Alternative Serialism. Stravinsky: Three songs of William Shakespeare.
• Third infinite. Mozart: Das Kinderspiel for voice and piano, K. 598.
• Wrong dispersions. Poulenc: Sarabande for guitar.
• God Save The Queen and everything else.

His interest by the mathematics leads him to create the Scientific Serialism, musical possibilities that arise from the functions, the operations and the numbers of this exact discipline. In the Scientific Serialism can be found series of sounds from mathematical functions such as the function Gamma of Euler or the Zeta of Riemann, irrational numbers as pi, e or phi, whole numbers like the prime ones, of Fibonacci and Lucas, cyclical, poligonals, binominals, multifactorials, et cetera. “Mersenne X” and “Mersenne XIII” are today the only works published created from Scientific Serialism.

As composer, his more than 80 works belong to various styles and musical genders, obtaining result from the possibilities of the modern and ancient historical tradition, as well as from the systems that he creates to compose, stem from his analytical investigations. His work spreads from the chamber music to the symphonic coral and operatic. It’s also worth to underline his works for scenic music (with the Calatalifa group of theatre of Madrid, for which he wrote the scenic music adapted to the tragedy of Sophocles “Antigona” and to the comedy of Aristophanes “Lisistrata”), piped music, and his projects as arrangementer and orchestrator.