The Triple Concerto starts with a computer solo introducing the main melodic cell and the harmonic field created by it, as well as most of the timbres that are heard in the composition. In the section that follows two different discourses develop. The first one of mechanical rhythms, is played by the acoustic instruments and is at times interrupted by the second one, more flexible and complex, played by the computer. The two contrasting discourses come together towards the end of the section. The centra section of the piece consists of three instrumental cadenzas alternating with computer solos The function of the computer during the instrumental cadenzas is to extend the sound world of each acoustic instrument without putting forward its own. In the final section all acoustic instruments and computer play together.

The computer part in the Triple Concerto consists entirely of sounds taken from the piano, flute and cello. These sounds were fed into the memory of a computer and modified by precise digital editing or simply by changing their envelope, vibrato, register and general articulation. The computer part is often conceived as an extension of the instrumental parts, only developing an identity of its own during the computer solos. I wanted the players to produce sounds which felt natural in the context of their instrument, leaving the computer to enhance and articulate "unusual" instrumental sounds such as flute muli-phonics, scraped sounds inside the piano, cello harmonics, etc.

A concerto is supposed to be a virtuoso piece. The greatest difficulty in this concerto is not in the playing of the instrumental parts themselves, but in conveying a structure which relies on the exact rhytmic synchronicity between players and computer.
The basic melodic and Harmonic material of the piece is rather simple. I chose to keep melody and harmony somewhat predictable so as to focus on other types of changes.
I was interested in the relationship between phrasing and timbre; in the opposition of the mechanical and the flexible; I wanted to write a piece where the performers would have to listen hard and play easy. (A. Viñao)

Technical background:

“Triple Concerto” and “Hendrix Haze” were realized on a Fairlight II with Fairlight software, “Toccata deI Mago” on a MacIntosh Plus.

Alejandro Viñao, born 1951 in Buenos Aires, studied composition, guitar and conducting in Buenos Aires where he lived until 1975. In 1975 he was awarded a British Council scholarship to further studies in composition and electronic music at the Royal Collage of Music in London. He continued his work at The City University, graduating in 1979. In 1988 he was awarded a PH. D. in composition at the same institution. In 1981 his composition “GO” won the first p rize at the International Competition for Electroacoustic Music at Bourges, France. In 1984, The International Rostrum of Electroacoustic Music at the Unesco World Music Council selected “GO” as the piece of the year.
Viñao was composer in residence at M.I.T. in the U.S.A. 1987 (”Toccata deI Mago“ premiered in Boston April 87). 1987 the San Francisco Symphony presented the U.S.A. premiere of ”Triple Concerto“. Alejandro Viñao has received commissions from various performing groups. New commissions for 1989/90 include pieces for The Kronos string quartet of San Francisco, for the Groupe de Musique Experimentale de Bourges in France and for the Ensemble Intercontemporain at IRCAM.