PRESS
https://5against4.com/2025/06/24/world-new-music-days-2025-portugal-part-2/ , June 2025
‘I still feel i’m reeling from (and keen to hear again) the work that ended the concert, torque by José Luis Perdigón de Paz (Spain). Harsh, violent gestures were the grammar for its language of violence, begging the question to what extent the member of the trio were in fact all on the same page. In particular, the violin and cello often seemed separate from the piano (being most demonstrative when it was at its most subdued), leading to impressions of friction and potentially conflict. Howevr, later they seemed most definitely (re)united, pounding together over a heavy pulse with details flowing out between each beat, a wonderful effect. Yet a bass-heavy outburst from the piano stunned the strings into suspension, leading to brooding intensity that suggested unity might have been an illusion. It was a captivating conclusion to a fabulous piece, becoming all the more disturbing as its music became gentle and obliquely lyrical in its closing moments.’
5:4
https://scherzo.es/madrid-trio-abstrakt-alberto-posadas-dejo-lo-mejor-para-el-final/ , May 2025
https://www.ritmo.es/auditorio/critica-expectativas-a-ambos-lados-del-espejo-por-luis-mazorra-incera , May 2025
https://www.diariodesevilla.es/ocio/ruido-sonido-musica-panisello-rodrigo_0_2002829733.html, November 2024
https://issuu.com/plateamagazine/docs/abril_2024_issuu , Page 91, April-June 2024
-la-scala-paris-2024 , October 2024
https://www.resmusica.com/2023/09/14/les-creations-de-voix-nouvelles-a-royaumont/ , September 2023
‘Drift (Dérive) de l'Espagnol José Luis Perdigón associe la guitare électrique de Yaron Deutsch et le clavecin entendu sous les doigts, poings et avant bras (il a mis des mitaines de protection !) de Jean-marie Cottet. L'instrument qui appartient à la Fondation Royaumont est de facture récente (1970), muni d'un cadre d'aluminium qui en accroît la puissance. En témoigne ces impacts percussifs sur le clavier entendus au début de la pièce. Perdigón cherche la complémentarité des deux sources instrumentales dans une musique de gestes particulièrement musclée, modelant les masses sonores via une écriture virtuose qui fait appel aux techniques de jeu étendues. Le clavecin est également joué dans les cordes, avec la clé d'accordage ! La coda, entre lissage et distorsion, est du plus bel effet.’
Michèle Tosi