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Después del incendio, toda la noche… [Sarajevo 1.2] (2018 - 2019)

For tenor saxophone, electronics & video or electronics & video. Laboratorio del Espacio Award 2020

Instrumentation: Tenor saxophone, electrónica [4 channels + 2 speaker-character] & video.
There is a live version without soprano.
Date: 2018
Duration: 10'52"
Texts: Text by Pilar Martín Gila.
Voices in off (electronics): Sylvie Robert (sopr.) y Pilar Martín Gila (recit.).
Video: Video production by Sergio Blardony.
Awards: Laboratorio del Espacio 2020.
World premiere: [electronics and video version] SIME 2018 Semaine Internationale de la Musique Électroacoustique, Espace Culture, Université de Lille, France, 4/19/2018.
[tenor sax, electronics and video] El Laboratorio del Espacio 2020, Auditorio 400 Reina Sofía Museum, Madrid, 3/4/2020. Performer: Francisco Martínez (sx.)
Other performances: [electronics and video] Ciclo Espacios Sonoros, Jornadas de Audio y Acústica, Salta (Argentina), Zorrilla Palace, 10/11/2019.
[tenor sax, electronics and video] Festival Espacios Sonoros 2020, Espacio Turina (Silvio hall), Sevilla, 11/2/2020.
COMA Festival 2020, Manuel de Falla SGAE Hall, Madrid, Performer: Francisco Martínez (sx.), 1/21/2021.
Lázaro Galdeano Museum, Madrid. Performer: Francisco Martínez (sx.), 5/9/2021.
Portugal. Performer: Francisco Martínez (sx.), 7/3/2021.
Score: PDF (author edition).
Comment: Después del incendio, toda la noche… there is need to reflect on the war, in particular the Balkan War. It is part of the cycle that I am working on in collaboration with poet Pilar Martín Gila. We intend to conduct an in-depth investigation through poetic texts related to the scene, which generate creative works of different kinds.

In this case, the play talks about one of the "stories" we are working on, which in turn is suggested by The Zookeeper movie in which the protagonist, Jonah Ludovic –the zoo keeper of a Balkan city is in the middle of a civil war- he is responsible for taking care of the animals until they can be rescued. In his mission, he keeps the war outside the walls of the zoo, until a 10-year-old boy and his mother ask him for help.

From this extra-musical context, I extract an element that I find especially suggestive and that, in some way, becomes a symbolic element of several aspects that I want to work on: the roar of the lion. If we observe this sound object with a microscopic look, the roar of the lion contains different "stages", which have a very different character each and that can even suggest opposing perceptions. From the almost subterranean depth of the bellow, until a moment when it seems that suffocation relegates him to impotence. Violence, uncertainty and pain in the same cry, something that is not far from war itself, to human conflict. On the other hand, this roar, inscribed in the thematic context of the project on the Bosnian War that I have described, is heard in the same place where a human being (Jonah Ludovic, the zoo keeper) tries to save the wild world from the wildness of the human world, the war. In this situation –staged in the film and addressed in the poetic texts of Pilar Martín Gila-, with a voice that agonizes the encounter with the word, is an element of enormous power when it comes to suggesting that deep poetic level that is always found in my musical creations. Although they avoid any traditional descriptive aspect.