unai urkola etxabe


Duology of Lur for trombone solo (12′)

AMAIA for tenor saxophone and fixed media (5′)

“when you reach the end, look at the floor and stay down while
the lights go down little by little until everything is silent”.

ESTRELLES (Stars) for electronics (7’30”)

The piece was conceived to represent and express the anxiety that lives and lies inside my head, the constant fear of being watched and criticized by anyone but myself. A mixture and superposition of several ideas that coexist within a great
mass, which never ceases to be weak, unsustainably fragile, and apparently fleeting. Here they come the ever-lasting camera sound clips and never-ending memories and thoughts that don’t have enough form to be seen and recognized, the child’s laugh and ocarina’s melody that appear at first sight from nowhere.
The score is as accurate as it has been possible to generate forms in my mind and give them structure and context, and that is why it is not intended in any case to be interpreted. Its existence is limited to reading, which should be superficial yet highly imaginative. Such is the requirement of its reading, that I will not expose the story behind all this tangle of lines and spaces; in Lur’s pain, I will simplify my speech so that yours can flourish more vividly.


L’Ontologia de Nela: com fer de la teva gossa una pianista d’èxit (The Ontology of Nela: how to make your dog a successful pianist) for piano and electronics (12′)

The primary source of stimulus came from a blind dog called Canela –but they call her Nela– and her owner and pianist, Paula Rocosa. Nela, just like I, has. cataracts from which she suffers from blindness –luckily mine is inactive–; I thought this could be a good foundation to start the work with.
L’Ontologia de Nela (…)” is a piece designed for a piano player and live and fixed electronics, but it could really work with any other instrument that still can read the score. It’s an open piece, divided into two sections, constructed by various double sets of open lecture musical and gestural objects, which means there is a lack of a pre-established formal structure –and some improvisation–. The dynamics are free but they need to have a structural sense. In the first section, these mentioned objects are shown by a machine programmed to calculate the probability of an object appearing along
with live electronics. In the second one, the objects depend on what
the speakers say (fixed media).


Su Ikustezinen Faktoria (v3) for percussion duet and 8 channels tape (9′)

“Somewhere, beyond the daring smokes, a feeding factory rests where reminiscing flames. forge dead fireworks and invisible sounds.

Crippling choirs howl meanwhile.

And they blind your eyes with wonder”.

Sagartxo Txiki for piano solo (9′) 

“eta indarrak ongi errotuz,

gure sustraiak lurrari lotuz,

bertatikan irautea”.