This is the flyer of “After Cage II” concerts, in which will be played my recent work “Never there. Talking to Macbeth” the next 10th in Pamplona. The title of the concert, “Geometrías del cuerpo” (Geometries of the body) shows that all the pieces in this recital will be about ways to integrate body and gesture in new music.
My piece will be played together with masterpieces like “Cardiophonie” by H. Holliger or “Atem” by M. Kagel.
Yesterday we had the preview of “Never there” in Donosti’s Aquarium (San Sebastián, Vasque Country). It was great to hear this piece for the first time in such an interesting place.
I hope you come to the premiere in Pamplona the next 10th of November!
Currently I am writing an oboe d’amore solo piece. Under the title of “Never there. Talking to Macbeth” this piece is a commission by “E_7.2” collective and will be played in Donosti and Pamplona this autumn. Pilar Fontalba will play the piece both times. In addition, I am working in collaboration with Leandro Suarez (video-artist) and Pablo Ramos (scenography), both from E_7.2, to set a different visual space for the piece.
This piece is being written under one main inspiration: irregular rhythms that are produced in our body, such as the spoken voice. The whole piece rhythm is the rhythm that produces the player in this head while reading a fragment of Macbeth, by W. Shakespeare. Anyway this piece is not a translation of a text into music; it is an experimentation on corporal rhythms into music.
So, ¿why Macbeth?
I read some days ago a really interesting book by Víctor Sunyol (writer from Catalonia, who I was so lucky to be taught by in Highschool) named “Birnam”. Birnam has nothing to do with my work, but the whole book happens while an actor is getting to play “King Duncan” in Macbeth so it is kind of about Macbeth but without Macbeth. My piece, such as the book, is not about Macbeth but does not exist without it.