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4 HOLOGRAFÍAS POÉTICO-SONORAS: II. Todos mis nombres cubiertos de arena (2008 - 2009)

Chamber choir & 8 cellos. Texts by Pilar Martín Gila.



Instrumentación: chamber choir 3.3.3.3 [S.A.T.B] | 8 vc
Date: 2008-2009
Duration: 10'40"
Texts: Poetry Collection Demonios y Leyes (Ediciones Libertarias, 2010) by Pilar Martín Gila. Selection of poems by the author.
Commission: IFIDMA (Instituto para la Formación, Investigación y Desarrollo de la Música y otras Artes).
World premiere: Date and place to confirm.
Score: PDF (author edition).
Comment: Todos mis nombres cubiertos de arena ("All my names covered in sand”) is the second piece in the tetralogy 4 Holografías poético-musicales (“4 poetic-musical Holographies”), where each piece forms part of a poetic vision based on an interpretation of the essence of the holographic technique: viewing the object from three different structural points of view (formal dimensions), which are produced over a succession of events that occur parallel in time, giving rise to the instability typical of "smooth" time (according to the concept developed by P. Boulez). The holographic technique allows what is observed to acquire volume, distance and depth. These parameters translate to the musical field as a subjective symbolic interpretation, which allows for the elaboration of a form inscribed in the essential elements with which music is manifested: synchrony and diachrony.
In this second piece of the tetralogy, the object is presented as a static plane, which could correspond to an amplified, symbolic vision of the 2nd dimension of the generating musical structure (spatial plane that represents distance and whose interpretation in musical terms is given through the verticalization of the basic melody that generates the work). It could be said that this piece reacts to the static observation of the holographic object with almost no movement on the part of the observer. There are dynamic growths which, however, never reach a climax. The sensation of depth prevails, in which synchrony (the harmonic verticalization of de 2nd dimension) becomes the main protagonist, and the melodic form of the 1st dimension (basic generating melody) is relegated to the background. The piece has got abundant polyphony which, however, does not produce an ondulated temporal vision (striated). Rather, it is precisely this internal movement, the constant development of form, which gives it a static appearance. The melodic aspect is “hidden” through different procedures and is seldom perceived clearly. The object is presented to the observer in all its depth, but without allowing for interpretation, capturing his attention as a visual whole that devours his contemplative freedom.
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