By subject

Scenic projects

Gospedin Nikto (2014 - 2015)

Flute, bass clarinet, soprano saxophone, piano, violin, cello & electronics. Radio plays on a dramatic text of Paul Celan.

Instrumentation: fl | b.cl | s.sx | p | vl | vc | electronics [2 chn.] | female choir (optional)
Date: 2014-2015
Duration: 6'40"
Texts: Radio plays on a dramatic text of Paul Celan.
Translation: José Luis Gómez Toré.
Voices in off (electronics): Jesús Barranco (actor), Lola Herrera (actress).
Commission: Cosmos 21.
World premiere: XV International Festival of Contemporary Music of Tres Cantos, Madrid, 09/27/2015.
Cosmos 21, Carlos Galán (cond.), Coro Nur, José Manuel López Blanco (cond.).
Other performances: Músicas del Cosmos 2016, Cultural Center Moncloa, Madrid, 11/23/2016. Cosmos 21, Carlos Galán (cond.), Coro Nur, José Manuel López Blanco (cond.).
Músicas del Cosmos 2016, Teatro Auditorio de Cuenca, 11/26/2016. Cosmos 21, Carlos Galán (cond.), Coro Nur, José Manuel López Blanco (cond.).
Score: Unión Musical Editores (Music Sales) [rental work]
Recording: Cosmos 21 (video).
Comment: Gospedin Nikto is a radio work written from a Paul’s Celan dramatic text recently translated into German by the poet and critic  José Luis Gómez Toré.  The work, initially produced for the program called Doble Fondo (Radio Círculo), is an instrumental length of the part created for the radio, part which it is included without modifications, with the original voices of the Spanish actors called Jesús Barranco and Lola Herrera.

The Celan’s text, a weird dialogue between two brothers, is moved by a surrealist tone, with  existentialist aspects, maybe the next theatre of the nonsense, remembering some Samuel’s Beckett works written for the radio. The title of the score –Gospedin Nikto- alludes to a reason of the play which could mean, in a mixture of Slavic languages, “Mr. Nobody”. 

Sometimes, the instrumental part is planned as a dialogue over the dialogue, a play over the play planned by the characters of the text in their dialogue. Other times, the instruments are presented as new characters, autonomous objects which burst into the narrative weave interpolated to the text and the rest of the sonorous speech of the electronic part, mostly made with noises without processing electronically. It is not intended to describe any figurative sense; there is no intention of describing events or situations (it would have resulted absurd to consider the musical part as “explicative” of what it is undecipherable, from the surreal). The music runs together with the text in a plot without signification, trying to babble in the same fragmentary and illogical speech raised from the text, through a repetitive dramatic sequence.