ルイジ・ノーノ
The leading influence on Sotelo's work is, with any doubt, the presence in his musical thought of the Venetian composer Luigi Nono. Sotelo devotes several pieces like "Nel suono indicibile – a Luigi Nono" (1989–1990), "Due voci… come un soffio dall'estrema lontananza" (1990–1991) where he uses texts from Massimo Cacciari – a philosopher deeply close to Nono – "Frammenti de l'infinito. Lorca-Nono. Diálogo del amargo" (1998), where the poetic figure of Federico García Lorca appears – also used by Nono in "Epitaffi per Federico Garcia Lorca I–III" (1951–1953) and the ballet "Der rote Mantel" (1955) – or "Cripta. Música para Luigi Nono" (2009). This biographic and musical affinity with the Italian artist producest several branches in Sotelo's composition: architecture of memory, oral tradition, act of performing, sound, Andalousian "cante jondo". The attraction and analysis of all these concepts led Sotelo to a deep connection with Flamenco in all its forms: "cante", guitar, percussion and "baile".