By subject

Del gesto al silencio (2019)

For clarinet, cello, piano & 5 mobile phones or laptops

Plantilla: clarinet | cello | piano | 5 mobile phones or laptops
Fecha: 2019
Duración: 10'
Encargo: Luis Fernández Castelló.
Estreno: XVI COMA Festival 2019, Teatros del Canal, Madrid, 9/22/2019.
Luis Fernández Castelló (cl.), David Apellániz (vc.), Carlos Apellániz (piano).
Partitura: Babel Scores
ISMN: 979-0-2325-3964-5
Comentario: This is a work that focuses on the Johannes Brahms Trio for clarinet, cello and piano Op. 114, raising two areas of inquiry: on the one hand, the gesture, the romantic movement. That is, how a movement can evolve into a totally different context. In the same way as if it were a resonance that proliferates and transforms the primary musical object into something else. On the other hand, I am interested in working the glaze, the dissolved subject, which is outside the process. Or if desired, the object of the past stopped in time, observed through a translucent veil that lets us see only a part of its importance, just its slight contours and, therefore, is perceived isolated and turned into a new and unreadable matter. Both areas of inquiry are presented in alternation, though never as contrasting elements but as subject that composes a specific and cohesive formal space..

A note, as a reflection
Why this romantic interest now, just now? What I can answer is that we live in a time (or at least it seems that way to me) in which it is interesting and, above all, possible, to revisit an era that in the recent past –I mean the twentieth century mid-avant-garde- it was located, aesthetically in a plane of confrontation with what was called “advanced music”. This meant that any outcropping of this essential period - even if it was considered in a dialectical plane - was perceived as regressive, as a denial of a progressive character that could not contain any element of the past, and less to the essential witness of the rupture that had occurred. Of course, the consolidation of the budgets of the serial avant-garde. Later, the musical postmodernity erased (in many cases in a somewhat crude manner) any possibility of dialectic or dialogue with the past, taking it as a mere object that could be presented out of context, avoiding any teleological or referential sense. With this perspective behind (although with all the uncertainty ahead), I think it is now when the dialogue can be more fruitful and enriching. Obviously, I am not referring to claiming a deed close to that nineteenth-century past or to any kind of “neo-” proposal, but to observe –already without the prejudices imposed by the need for confrontation- how can we dialogue with an era that or not, it still conforms us in some aspects. Putting into dialogue means putting into play, that is, placing the observed object in another place (decontextualiz¬ing) to give it another nature. That alteration will mean doing ours and our time.

One last clarification: it is true that Brahms can qualify as a classical composer within romanticism. However, in him I think there is an obvious stylisation of the gesture. Brahms flees from pathos to immerse himself in a romantic way that he wants to survive, which appeals to create lasting foundations. That is why, for this concrete inquiry into the romantic gesture, I am more interested in this perspective than that of composers whose ideas explored other places, sometimes looking at new languages, without trying to take root.