Presente / Present
(2011)
This work was composed specially for the trio with Seth Josel (electric guitar), Christine Pate (accordion) and Matthias Badczong (bass clarinet).
This piece is part of Confío/I trust, a cycle of works focused on different aspects of entailment between early and contemporary music, as a way to question, reaffirm, and spread out new music's potentialities.
One of the goals was to develop an aesthetic where musical language uses its sources from the past to create an original discourse internally articulated and coherent with a new musical world, and to create new theoretical concepts, and technical and practical challenges for the music.
In this case, there is a material-seed: Quel guardo sdegnosetto by Claudio Monteverdi. The relationship between that piece and Present became totally transfigured, but there is still a kind of structural-compensatory sense of the form circulating during the whole work. The instrumentation of the piece was an element for shooting out the imaginary towards a totally unexpected sonorous landscape. It was a real challenge.
Present is about a constant perception of the instant. It is a poetic attempt to surround each sound with an ultimate temporal form: a present of no time; a present where music becomes a timeless immersion in certain quasi-evocative materials, where memory is a paradoxical factor of identity with the past.
Present is based in a concept where art is the closest way to eternity. Also Present is a present to a loved one, with the most intense gratitude.
(2011)
This work was composed specially for the trio with Seth Josel (electric guitar), Christine Pate (accordion) and Matthias Badczong (bass clarinet).
This piece is part of Confío/I trust, a cycle of works focused on different aspects of entailment between early and contemporary music, as a way to question, reaffirm, and spread out new music's potentialities.
One of the goals was to develop an aesthetic where musical language uses its sources from the past to create an original discourse internally articulated and coherent with a new musical world, and to create new theoretical concepts, and technical and practical challenges for the music.
In this case, there is a material-seed: Quel guardo sdegnosetto by Claudio Monteverdi. The relationship between that piece and Present became totally transfigured, but there is still a kind of structural-compensatory sense of the form circulating during the whole work. The instrumentation of the piece was an element for shooting out the imaginary towards a totally unexpected sonorous landscape. It was a real challenge.
Present is about a constant perception of the instant. It is a poetic attempt to surround each sound with an ultimate temporal form: a present of no time; a present where music becomes a timeless immersion in certain quasi-evocative materials, where memory is a paradoxical factor of identity with the past.
Present is based in a concept where art is the closest way to eternity. Also Present is a present to a loved one, with the most intense gratitude.
