# Metaludios (piano)

Metaludios is a collection of piano pieces written by Spanish composer and pianist Gustavo Díaz-Jerez.

## History

The composition of the Metaludios started in 2013 following a commission from Spanish pianist Marta Zabaleta. As of 2021, a total of thirty Metaludios have been published, grouped in books of six pieces, totalling five books. The word Metaludio is derived from the prefix meta-, “beyond” and the suffix -ludio, from the Latin ludēre, “to play”, “to exercise”.

## Style

The Metaludios belong to the contemporary classical music genre. Like other works by the composer, they use scientific models from which musical material is derived. These include fractal images, cellular automata, L-Systems, numerical sequences, Artificial Intelligence, etc. Other sources of inspiration include literature and mythology. Some Metaludios are written as hommages to concrete artists (Antonio Soler, Brahms, Antonio José, Gesualdo, Martín Chirino, etc.). Many employ extended techniques and electronics. Psychoacoustics and the search of new sonorities to extend the expressive palette of the piano is central to the composition of these pieces.

## Recordings

Books I-V of Metaludios have been recorded on CD for Spanish record label IBS Classical, featuring the composer at the piano. A first CD, containing Books I-III appeared in 2018. A second CD, containing Books IV and V, was published in 2021.

## Reception

The Metaludios have received excellent reviews both in Spain and abroad.
British music critic David McDade compares the Metaludios with the Ligeti études, suggesting they could be their successors:
   An obvious point of comparison, it seems to me, are the Ligeti Etudes which, in recent years, have been getting the recognition they deserve as some of the most innovative piano works of the end of the 20th and beginning of the 21st centuries. Only time will tell if Díaz-Jerez’ games will prove to be their successors but right now I have to say that I believe they will.
Spanish composer and music critic Tomás Marco wrote:
   An example of what a great composer can do with a great pianist and that in this case they are the same person. For those who are scared when music and science are integrated, this is a good example of imagination, attractiveness and also beauty. Very innovative, but splendid.
Miguel Ángel Pérez Martín, in his review titled The piano of the future? for Docenotas music magazine, writes:
   Highly recommended. A different listening experience every time. A great musical discovery...

## Table of pieces

| | Title | Approximate duration | Extended techniques | Electronics |
| Book I | Izar iluna | 4' | No | No |
| Book I | Kenotaphion | 1'45 | No | No |
| Book I | Imaginary continuum | 2'30 | No | No |
| Book I | Homenaje a Antonio Soler | 5' | No | No |
| Book I | Orahan | 5' | No | No |
| Book I | Stheno | 6'45 | Yes | No |
| Book II | Quantum foam | 3' | Yes | No |
| Book II | Succubus | 4'30 | Yes | No |
| Book II | Rule 110 | 2'30 | No | No |
| Book II | Hommage à Horațiu Rădulescu | 2'30 | No | No |
| Book II | Étude pour les unissons | 3' | Yes | No |
| Book II | Sisyphus | 5' | No | No |
| Book III | Prélude non mesuré | 2'30 | No | Yes |
| Book III | An error occurred | 1'30 | No | No |
| Book III | Eine Hommage an J. Brahms | 4' | No | No |
| Book III | Microsuite | 5' | Yes | No |
| Book III | Modular form | 2' | No | Yes |
| Book III | Nonlinear recurrences | 4'30 | Yes | Yes |
| Book IV | Eigengrau | 4' | Yes | No |
| Book IV | L-System | 5' | No | No |
| Book IV | Mice music | 3' | Yes | No |
| Book IV | Stribog | 4'30 | No | No |
| Book IV | Omaggio a Carlo Gesualdo | 4' | Yes | No |
| Book IV | La espiral del viento | 10' | Yes | Yes |
| Book V | Melussyne | 11' | Yes | Yes |
| Book V | Boötes void | 6' | Yes | No |
| Book V | Cassini's dream | 5'45 | Yes | Yes |
| Book V | Pavana triste (Homenaje a Antonio José) | 4' | No | No |
| Book V | Hidden states | 4' | No | No |
| Book V | Belphegor's prime | 8'45 | Yes | No |