José Martínez Mulió: Carl Orff Competition 2018: Orfeo. Eurídice. Hermes

As if it were a "lied", the music of this composition is intimately linked to the text of Rilke and tries to evoke the situation and emotions that the poet suggests.
Shape: To A B A’ B’ transition C (epilogue).
The phrase A is built on an ostinato based on the primary chords in the superlocrio way that goes by modulating ascension and intends to reflect the rise of the three characters to the underworld.

The song is based on the scale of six sounds V. Persichetti called Prometheus, with the same tonal focus of the ostinato, and on the whole tonal scale, that produces a bimodality that b becomes polymodality and polytonality with various tonal focus and simultaneous modes (first eight bars). In A' it takes the ostinato but now a half-tone lower and modulating descension.

Frame drum is incorporated as the right hand of the piano performs the melody and the song incorporates a counterpoint with the amended text. The brief transition following a B' most dramatic song leads us first to the point "Root was already" and then to C which according to epilogue concludes with a suspensive ending with Euridice's question: Who?