Bijdetijds

1. Diario (2001).
Angel Luis Castaño, accordeon en Ananda Sukarlan, piano. Trito TD0026.
2. Sinfonia n. 2 ‘Nusantara’ (2005).
Ananda Sukarlan, piano; Orquesta de la Comunidad de Madrid o.l.v. José Ramón Encinar. Stradivarius STR33765.
3. Sobre la noche (2003).
Ananda Sukarlan, piano en Carmen Gurriarán, sopraan.
4. Uit: Cuaderno para los Niños (2004) – Humores
Ananda Sukarlan, piano. Trito TD0026.
(met dank aan de componist en diens uitgever Trito)

Reacties in de pers:
Premiere of the "Nusantara" second symphony
This new project confirms an understanding of orchestral composition which can be clearly seen in the waves of sound of a first movement which unites an unremitting rhythmic sense with a depth of colour which is sometimes reminiscent of Messiaen and which is later confirmed by the references to the Indonesian gamelan. Amazing music provided by Ananda Sukarlan and the Orcam under the musical direction of Encinar, it will not be long before we will undoubtedly see it included in the programs of many Spanish orchestras…
EL PAÍS, May 11, 2006
…. “Nusantara” combines melodic breadth, rhythmic insistence and harmonic clarity, and adorns these with attractive sounds and admirable themes, such as the work of Bernstein in this case…
ABC, May 16, 2006
David del Puerto justifiably stands out amongst our more mature composers due to his technique and imagination…Del Puerto plays with his own freedom and the result is a true symphonic sound and pleasing tonal mixtures. The piano, without becoming an absolute dominating figure, is of tremendous importance in the orchestra and allows the brilliance of the composer to shine through. Sukarlan was, as normal, outstanding, and the public responded marvellously to a message which is direct, yet by no means simple…the composer received an extended ovation.
El Mundo, May 11, 2006
David del Puerto is both a highly skilled composer and a determined seeker of his own style. Each new work sounds more stylised than the previous one. The rhythms are more controlled, the textures more ordered, the colours lighter, the melodies better developed and the whole character of the work is clearer. To a greater extent he expresses more with less. Del Puerto is well on the way to becoming a “classic” – one of those artists whose achievements are recognised by all. His second symphony has a taste of Indonesia
and a tang of the sea…
La Razón, May 14, 2006
 
Premio Nacional de Música 2005 [National Music Prize 2005]
The pure music of David del Puerto
Gonzalo de Olavide, who died on Friday, would speak passionately about the youngest Spanish composers who had taken over from their maestros to form an exceptional generation. No doubt, for this reason, he would have been pleased with the awarding, yesterday, of the National Music Prize to David del Puerto (Madrid
1964). The fact that the decision of the jury, which changes every year, falls relentlessly on them means, of course, that it is their turn, but also, fortunately, that they will not have to wait to get old or for someone to make up for an unaccountable obscurity. Only in this way do prizes of this category serve to promote works in progress, a very important thing. And let’s see if for once the man in the street takes heed that Spanish music is doing very well, perhaps better than any other art form, from literature and cinema to painting.
By choosing David del Puerto, the National Music Prize jury has got it absolutely right, and not just the name of the prize winner but also what he stands for, what he is symptomatic of. It has further consolidated this line that in today’s Spanish music comes from the teaching of Francisco Guerrero, a figure who permeated everything, but who, as always happens with the shadow of genius, it was also better to let go of in time, although painfully, to see if his wings were able to keep him aloft. Next, in the case of Del Puerto, came his definitive and systematic training alongside Luis de Pablo, who would help him to seek out a less extreme path and to gradually attain the ability to write in any genre, some early on and some later, but all of them – chamber music, vocal, orchestral, piano – necessary in the training of a creator who must master his subject in order to manifest what he wants to.
This balance between being and saying seems to me to be what is so attractive about David del Puerto’s music. He himself has claimed on occasion the right to use the term expressiveness in such a corrupted context for these purposes as the contemporary era, in which the manifestation of emotions is often taken to be a symptom of weakness. David del Puerto understands the different expression, directed at the same objective, of Messiaen or Schönberg and admires Schumann because he was a “paragon of the purest music”. There is a very recent work by the Madrid
composer, his First Symphony – the Second will first be performed next year – , which explains this purity very well and which seems to say, gladly and resoundingly: this is me. Pure music, how wonderful. Happy music, why not?
EL PAÍS, November 8, 2005
Luis Suñén