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Ensemble (5 to 12 instruments)

Silencio de la hidra, turba de espejos (2009 - 2010)

Ensemble (6 instruments).

Instrumentation: 1[muta G fl].1[ob. d'amore/c.ing, out of stage].1[muta cl.b].0 | | piano |
Date: 2009-2010
Duration: 13'
World premiere: International Contemporary Music Festival of Madrid COMA'12. 9/30/2012.
Sebastián Mariné (cond.), RUBIK Ensemble.
Score: PDF (author edition).

The conceptual suggestion which drives the work is water, and, although the opposite might seem to be the case (given the great quantity of musical literature which has dealt with this element), it is no easy task to engage in a musical composition which takes this element as a starting point. The logical excess of reference points makes it difficult to see the conceptual limits within which the artistic work has to move. In the same way as the element in question, the ideas flow, twist through a thousand channels and finally fall unarmed and in confusion into a formless, symbolic and metaphorical whole. The Hydra of Lerna, becomes strong and stops Heracles completing his second labour...
This is why I have tried to escape from structured planning, from the formal achievement which comes from a symbolization of water in sound. On the contrary, the work fights its way within a fragmentary state of ideas, of comings and goings of visual and sound ideas, conceptual and poetic ideas, alluding on occasions to the myth… If the metaphor of water is sought, one could talk about the fact that it is precisely this flowing which identifies the  world which I propose with the theme which houses it.
However, a comparative image from Hegel -in the spiritual realm, the linguistic sign which catalyses the creation of concepts; in the material comparison, water as the catalyst of the chemical reaction- suggested to me an effective argument to give structural coherence and a solid, cohesion-providing basis to the work. Thus, it was a question of finding a sonorous catalyst which would help to shape the discourse on the basis of those fragmented units –visions in sound-. My most recent works revolve around an idea which, little by little, is becoming more and more consistent as a proposal (taking this proposal as “personal and non-transferable”, not as a method or system for composition). The conscious use of elements that can be understood and presented as traditional (the clearest case is that of the exposition of a melodic line with all the implications of reference to the tradition that this tradition entails) which –through an accumulative process and a provocative, virtual absence of development- culminates in the loss of its initial sense, in its being blotted out, in its denial, in the depiction of its opposite... A blurring of this type was suitable for Silencio de la hidra, turba de espejos, not only because of the more or less obvious interpretation of the dissolution of the musical element used in its own material and its consequent conceptual association with water, but also as a metaphor for the sign which constructs the language and the discourse, in this case a discourse which is a product of the accumulative flowing of one single idea. It was thus a question of an elaboration on two planes: a musical element which self-destructs through excess to construct the form, and –at the same time- an accumulation of visions in sound (which come from an extra-musical stratum) which lay themselves upon each other and “use” likewise that single element as a medium to make themselves visible. A visibility which, of course, I am trying to place as far as possible from the descriptive or from facile rhetorical representation.
The title aims to be a poetic allusion to that putting of the formal evidence to debate, which is carried out by means of the dialectic processes described above, where the visions in sound (in many cases luminous like thousands of mirrors) are filtered in the earth, to lie then in a hidden substratum, concealed by the proliferation of the single element, which –in turn– also unhurriedly follows its path towards silence, a silence which turns into a sonorous death...