This piece for soprano saxophone and viola is part of my research on luminance as one of the ‘semantic’ dimensions of timbre that accounts for the amount and intensity of light that is perceived in it.
Spending hours working next to a window while it was raining, I recognised in it a kind of filter and distortion effect. From this perspective, the piece is structured in five uninterrupted sections that explore the heavy falling rain, when there is also mist, that thick and untouchable presence that fills a space and prevents us from seeing the other side, turning everything into faint images, like pieces of something that has no form at all, almost vanished, but still there. There is also and exploration of the moment immediately after the rain stops, when everything is wet and many drops cover the windows through which everything is perceived diffused and blurred, covered by a halo of the past, but also when light is wide reflected and refracted at the same time, spreading its presence as distorted pieces of something that shine ambiguously.
If you’re interested in the score, you can buy it here!
The clink of the spoon in your coffee is a line of a poem written by William Carlos Williams (“A Goodnight”). The piece is part of a period of exploration of the relationship between poetical images and sound. It is not a programmatic work, instead it is an attempt of timbral composition inspired in the imaginary soundscape of a poem. In this case, I felt very attracted to the intimacy, the subtlety in the development of each gesture. In this composition, the three instruments (alto flute, bass clarinet and violin) are articulated in a process of timbral exploration that generates brief percussive attacks and extended resonances in constant transformation.
It is a great satisfaction to invite you to the premier by the great collective lovemusicon July 12th, 2019 at the BNU Strasbourg National University Library Auditorium.
This piece is inspired by a fragment of Virginia Woolf’s Mrs. Dalloway: “and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial […].”
The way in which she describes that volatile condition made me think about the constant interaction of uncontrolled and unexpected forces in a wide range of possibilities. Consequently, I approached the low register and the physical experience of the corporeal attributes of the instrument (size, shape, material) as images of the strength and power of such a passion. Also, I followed the idea of fragility, the flickering flame, to approach ethereal qualities of the bassoon’s sound through diverse techniques that allowed me to work on the complexity of its movement and transformation to create unstable and unique timbres.
A recording of the piece performed by Rebekah Heller is available here!
This article corresponds to the first chapter of my Master’s Thesis: Reflexiones sobre el proceso creativo de un ciclo de piezas transmediales y colaborativas, articuladas por la exploración tímbrica a través de la interacción del sonido y el movimiento [Reflections about the creative process of a cycle of transmedial and collaborative pieces, articulated by the timbral exploration through sound and movement interaction]. Universidad Nacional Autónoma de México. Mexico, 2015.
I have been awarded an AHC Doctoral Research Scholarship granted by the Faculty of Arts, Humanities and Cultures of the University of Leeds (UK) to pursue a PhD in Composition with composers Martin Iddon and Scott Mc Laughlin as thesis supervisors. It will be my first experience of life outside Latin America. I am extremely happy to start this new stage of my career in September. I am deeply grateful!