SIXTO HERRERO (Rafal, Spain, 1965) started his studies of music in his hometown with José Mirete. After, he finished the Bachelor degree at the Conservatorio Superior of Alicante with Jaime Belda. He also studied composition with Ramon Ramos and orchestra conducting with Manuel Galduf both at the Conservatorio Superior of Valencia. He has a PhD at the Universidad Politécnica de Valencia.

He obtained an Honour Mention at the II Religious Music Competition Fernando Rielo in Roma (Italy), an Honour Mention at the II Composition International Competition of Montreal for his string quartet “Ignotalías” an a First Composition Prize Ensemblia (Germany) for his string quartet “Quera”. He won the Ablaze Records Composition Competition (Cincinnati, USA) for his work for symphonic orchestra “SAJA”.

He is now a cathedratic professor of saxophone at the CSM “Oscar Esplá” of Alicante; conductor of the Symphonic Orchestra “Ciudad de Orihuela” and the ensemble CIMMA 2.0; and founder and member of the saxophone quartet “Ars Musicandum”.

HENDIA is a commission by saxophonist Javier De La Vega. It is a composition from a set of four works called Viajeros al tren: Lato for soprano saxophone, Remudios for alto saxophone, Denuedos for tenor saxophone and Hendia for baritone saxophone. They can be played separately or as a suite by one or more saxophonists in any order.

Its creative idea is based in a serie of different feels of a musician though his artistic career (specially in his/her formation period) and, in this case, HENDIA reflects the end of this period. This work contains elements purely extracted from the flamenco since the musician performs as a musician and an actor as well. The work shows, at the same time, tradition (because of the influence of the flamenco) and modernity (because of the extended techniques used in the new languages of the music from the 20^th and 21^st centuries).

Sixto Herrero, 2018

Rivera Editores, Valencia (E). 8 pages. Duration: ca. 5:00. Contemporary music.

Level: INTERMEDIATE-HIGH. Range (written): Bb2 – C#6

Technical skills: Wide range of dynamics and timbres. Tonguing accuracy. Diversity of articulations and vibratos. Some fast excerpts. Altissimo register. Multiphonic sounds. Key sounds. Voice.

Performance skills: Playing with intensity and dramatism. The composer suggests singing a saeta or reciting a poem at the end of the work.

Listen to HENDIA here:

In my opinion, HENDIA is an inescapable work of the original reprtoire for baritone saxophone. This work requires the control of some extended techniques, especially the use of the voice (treated independently as well as integrated in the sound of the saxophone) but also the playing of the altissimo register in different nuances (from ppp to fff), the precision of the articulations, the different timbre changes on the same note and the response of some multiphonics.

Its performing accuracy is very important since it should always be played with lot of intensity but also creating thrilling moments, keeping the continuity of the musical discourse (in spite of the constant oscillations and pauses) and the staging since, at the very end of the piece, the composer asks the performer to sing a saeta or recite a poem (it should be done with conviction, of course) while playing an accompainement with key sounds.

Technically, HENDIA is not a very demanding work, so it allows focusing the musical and performative elements. A good interpretation of this short and intense work (like a good coffee) will ensure a great success in the audition or concert where you program it.

Read this text extracted from the edition of HENDIA. It is very clear and helpful:

To crack and look endlessly for the quejío, the mournful flamenco feeling hidden in the refined society of classical music. The search of loneliness on the stage, where the performer uses sounds as a communicative way to claim for a forgotten right

Sixto Herrero, 2002

If you want to work on or to know more about HENDIA, don’t hesitate to contact me