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Scenic projects

Detrás de los párpados (2018)

Mezzo, cello, electronics & video. Poem by Pilar Martín Gila.

Setup: mezzosoprano | cello | electrónica | vídeo
Data: 2018
Duration: 18'24"
Text: Texto poético de Pilar Martín Gila (del libro de poemas La cerillera).
Commission: EPOS Lab 2018.
World premiere: EPOS Lab 2018, CC Conde Duque, Madrid, 15/12/2019.
Equipo artístico: Marta Knörr (mezzo), José Miguel Gómez (cello), Raúl Marcos (puesta en escena), Juan Carlos Ares (ingeniero de sonido).
Other performances: EPOS Lab, Festival de Música de Tres Cantos 2019, 28/9/2019. Intérpretes: Marta Knörr (mezzo), Juan Aguilera (cello), Raúl Marcos (puesta en escena), Juan Carlos Ares (ingeniero de sonido).
Score: BabelScores (próximamente).
Recording: EPOS Lab.
Coment: This is a work about behind, about what is hidden, concealed or veiled by something else or by a part of the same substance. Detrás de los párpados (Behind the eyelids) begins with a poem from the book La cerillera by Pilar Martín Gila (Bala Perdida, 2018). It is this poetic text that facilitates the discourse, which it does from the poem’s apprehension and not from its analysis and its later passage onto the musical plane. There is no procedure, yet there is a process. Little by little it reveals the previously concealed layers which, somehow, were already there at the beginning of the work.
The discourse bases itself on the poem’s deep apprehension. To make a comparison, I have acted in the same way as Bartók or Falla in respect of traditional music, working to internalise it so that, later, it moves away from any concrete melody and builds with its own voice. This is something which, in my opinion, is much more authentic than a work which uses the source right from the start. In the same way, Detrás de los párpados, tries to internalise a very strange poetic discourse, particularly how it is presented through abrupt punctuation, which gives the musical piece a formal condition –as I say- not from looking for concrete relationships, but from the sense of essentiality that a deep reading can produce.
On the other hand, the video –realized with Marta Knörr herself as a model- fulfills an important stage role. And, undoubtedly, it has been the backbone of the form at the time of writing, in a quite peculiar round trip process. Starting from a primary script, based on the first bars already written, the video was completely built. In this way, the subsequent work was conditioned by the image. That is, a work that starts from the poem, passes to music, then to the image, and returns to music, having a relationship of constant dialectical tension with the word. This has been the way to work, a very pleasant way while extremely disturbing. (Sergio Blardony)