Libro I

Observaciones / Observations:
Encargo de / commisioned by: R.N.E. Radio Clásica-LIEM/CDMC
Estreno / Premiere: Festival de Alicante 2000 y Ars Sonora (R.N.E.)

Comentario Autor / Author Review:
Al comienzo de mi andadura por el mundo de la electroacústica, inmerso en la corporeidad del estudio analógico, fascinado por una materia sonora casi en estado puro, rebelde e inmensamente sugerente, me acerqué a un tipo de obra, centrada en el sonido, que adquiría una dimensión visual, tactil casi. Espacios fraguados en el color, sonidos articulados en pequeñas formas elementales que asumen una entidad de objeto individual; paisajes oníricos, juegos de fantasias.

Desde hace algún tiempo andaba tentado de acercarme de nuevo, con nuevos aires y nuevos medios, a ese mundo apegado a lo puramente sonoro. Vuelta de tuerca : re-encuentro con el horizonte conocido, desde el siguiente paso en la hélice. Era evidente que el medio idoneo para experimentar con un universo que acaso pudiera parecer que roza lo extra-musical, era una obra radiofónica.

Mundo de fábula, de narratividad pseudo-prográmatica, de cambios de luz y multiples perspectivas. Una obra de metamorfosis, de colores y de polifonías.

Libro I wants to point with its title to the major divisions of texts in ancient times. It is thus divided, for instance, that almost all classical texts have arrived to us. Under such labeling we could just as well find a philosophical treatise as a poetic work, or any of those fascinating texts of olden times which would combine a rigorous formal approach with a most bewildered phantasy. It is this ambiguity, this possible duality of approaches that the title wills to suggest. Being the First, we are, further on, invited to expect the opening, the genesis, the entering portico to the universe embraced under one such title.

Ambiguousness and duality : keywords in the conception of the piece. There are several levels in the construction of Libro I to which any of these terms could be applied : dialectics between two poetic spaces, between the abstract and the figurative, between the visual and the auditory, between the purely musical and the appearance of the narrative, between the knitted structure of precise numerical proportions and the expressiveness of gestures.

Intermingled with a game between formal planes there was a will to move the perception of the auditor into a visual imaginery by purely musical means. I made use, for that purpose, of almost all the range between the abstract and the figurative; “almost all the range” because I remained somewhere just before the purely figurative in order to stimulate the entrance into the realm of mental re-construction, hence of suggestive imagination. Being all sounds purely synthetic, I approached at times a quasi-concrete character whether by using different synthesis techniques which allow this perspective, or by imbuing some of the musical objects, which could otherwise have a highly abstract foundation, with a behavioural pattern that could recall somehow that of nature’s elements.