unai urkola etxabe


Duology of Debot for cello solo (12′)


Por Vía Intravenosa (Intravenously) for electronics (37′)

“Por Vía Intravenosa” is an electroacoustic piece that consists of 4 movements, which form the narrative of a single story, which in my own terms I call “Electroacoustic Storytelling”. As “ESTRELLES” was at the time, the piece is made up of several layers which depend mainly on 2 parameters: the values and the planes.


Flaming Requiem for 8 singers (29′)

Fahrenheit 451 –which is the main inspiration of this work and where the words were taken– is a dystopian novel by American writer Ray Bradbury, first published in 1953. Often regarded as one of his best works, the novel presents a future American society where books are outlawed and “firemen” burn any that are found. The book’s tagline explains the title as “‘the temperature at which book paper catches fire, and burns”: the autoignition temperature of paper. The novel has been the subject of interpretations focusing on the historical role of book burning in suppressing dissenting ideas for change.
Each movement is a representative of a chapter of a Requiem which is about to turn into ashes on a burning pile of books, as each of them is closer to the fire, to an inevitable demise. As we continue to enter into the work, time will become thick and more sections will be destroyed. Each time the music will become more illegible and unintelligible, and the ashes will filter through our fingers turning everything into a muffled
chant: the first chapters will survive, but those under will perish, forever.
As the singers bemoan the Requiem’s death –in a meta-requiem sense– in a cathedralitic behavior, light should be off and black must be worn, never looking to anything but to the long-lasting agonizing shine.


Limen2 for double bass, pedal electronics, and fixed media (10′)

Limen2 is a piece written for double bass and electronics player for pedals and tape, and it responds to the attempt to mark and remove limits. It is dedicated to the double bass player who performs it, Alvaro Orcajo. It is constructed in 3 pages or parts where the two of the “limit” are of high improvisatory character, with drawings that suggest an approximation of how “should” be played, while the one in the center is of great virtuosity accompanied by a confused and choppy robotic female voice; again, creating borders or “limens”.


everything was just liminal for three dancers (20′)

Made from Guilt for dizklavier, 8 channel tape & live-electronics and lights (13′)

“For what is seemed fair a regret within.
In a soft dawn for a cry within.
Judging a moment into the fear within.
From a tree that molds with greatness within.”