Obelisco|invertido

obelisco|invertido For Bassoonist Dedicated to Warren Enstrรถm Omar | Fraire 2015_Connecticut | US

Program Note Obelisco Invertido Is derived from the piece Mazunte for solo clarinet (2006), by the Mexican composer Hiram Navarrete. It is a musical quote in which the pitch progression of the alluded work is inverted. The irreverence of the gesture is taken from Eduardo Abaroa’s piece Obelisco roto portátil para mercados ambulantes – A Portable Broken Obelisk for Street Markets – (1993).

Thanks to Hiram for his collaboration throughout the process of writing this piece.

Nota al Programa Obelisco Invertido se deriva de la pieza: Mazunte para clarinete solo (2006), del compositor Mexicano Hiram Navarrete. Es al mismo tiempo una cita que invierte la dirección progresiva de la altura en la pieza alusiva. La irreverencia del gesto es tomada de la pieza Obelisco roto portátil para mercados ambulantes (1993), de Eduardo Abaroa.

Gracias a Hiram por su colaboración en el proceso para escribir esta pieza.

-Are you doing a definition of principle by this use?

-No, we are against any kind of pedagogic device, we have no message to convey, we are artist, we make artwork, not propaganda. On our use of quotes we expect to be close what Benjamin wrote: “A quote must be like a bandit who assaults passersby” Claire Fontaine Every room could have an anti-room (A misheard) Dr. Chicago

- ¿Están haciendo alguna definición de principios con este uso?

- No, estamos en contra de cualquier tipo de dispositivo pedagógico, no tenemos ningún mensaje que transmitir, somos artistas, hacemos obras de arte, no propaganda. En nuestro uso de citas, esperamos estar cerca de ésa que escribió Benjamin diciendo: “Una cita tiene que ser como un bandido que asalta a los transeúntes” Claire Fontaine Cada cuarto podría tener un anti-cuarto Dr. Chicago (mal escuchado)

Obelisco Invertido (Inverted Obelisk) Omar Fraire

A slow exploration of all the register of the instrument through a descendant and continuous glissando.

Performance should last between ten and fifteen minutes.

Dynamics should be as stable as possible and change very gradually according to the nature of register.

This score could operate as a triggering device for the solutions and interpretations that the bassoonist may provide, i.e. the probable impossibilities of realization should provide the form of the piece and the shape to the content of it.

Performing the piece with the bassoonist hanging upside-down or with the instrument upside-down could be considered.