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Himno a la intemperie (2015)

Violin & electronics. Poems by Pedro Provencio.

Instrumentation: violin | electronics [2 chn.]
Date: 2015
Duration: 9'35"
Texts: Poetic texts by Pedro Provencio.
Voz in off: Aurora Herrero (actress).
Commission: Mª Carmen Antequera for 20th Anniversary of the Electroacoustic Laboratory of the High Conservatory of Valencia.
Pre-premiere: El Laboratorio del Espacio 2016, Auditorio 400, Museo Nacional Centro de Arte Reina Sofía, Madrid, 03/04/2016. Ema Alexeeva (Plural Ensemble, vl.), LIEM-CTE (electronics).
World premiere: 20th Anniversary of the Electroacoustic Laboratory of the High Conservatory of Valencia. Auditorium of the High Conservatory of Valencia, 29/04/2016.
Mª Carmen Antequera (violin), Gregorio Jiménez (electronics).
Other performances: Mostra Sonora de Sueca 2016, 05/08/2016. Mª Carmen Antequera (vl.).
Radical dB Festival, Harinera ZGZ, Zaragoza, 05/18/2017. Jenny Guerra (vl.), Miguel Ángel Berbis (electronics).
Ensembles Festival, Teatros del Canal, Sala Verde, Madrid, 10/22/2017. Mª Carmen Antequera (vl.).
Ensembles Festival, Joaquín Turina Concert Hall, Sevilla, 11/12/2017. Mª Carmen Antequera (vl.).
Encontres Músiques de Nova Creació, Institut Valencià d'Art Modern (IVAM), Valencia, 11/24/2017. Mª Carmen Antequera (vl.).
Ensembles Festival, Auditorio de Zaragoza, Sala Galve, 11/30/2017. Mª Carmen Antequera (vl.).
Ensembles Festival, High Bilbao Conservatory, 12/01/2017. Mª Carmen Antequera (vl.).
Ensembles Festival, Logroño, 12/02/2017, Mª Carmen Antequera (vl.).
Score: PDF (author edition).
Recording: Ensemble d'Arts.
Comment: Word and space. Word and light. Light and space. These relationships are presented as a source of enquiry in Himno a la intemperie ("Anthem to inclemency"), a piece for violin and electronic order of the violinist Mª Carmen Antequera, who uses a selection of poetic texts by Pedro Provencio, in the voice of the actress Aurora Herrero, to speak to us of time from the light and the desolate vision of an arid landscape. Sunlight becomes a continuous and strenuous presence while the word is shown away from any form of linear-directional narrative to place itself in space, fragmented and in a constant play of presence-non-presence.

If we wanted to place this sonorous (and visual) space suggested by Pedro Provencio's text, we could easily think of the Cabo de Gata Almeria, presided over by a monstrous, beneficial and not, pre-tourist sun; with wild herbs (esparto, thistles), caves formed by the erosion of a rough sea, all wrapped in a pirate wind, something obsessive... In short, arid, solitary spaces (perhaps, the isolated passage of a seagull), conquests of the sand and scrub, in the intense variations of colour of the stone... And a voice that appears at one end of a beach and immediately in another remote place (a cave?), without solution of continuity.

Above all this, inscribed in this space, the presence of a violin as an apparent guide, the presence of the real appearance of a sound discourse that –in any case- is always intended to be broken, composed of fragments, to cancel out predictability ... Critical discourse, definitely.