Tramados

Carolina Carrizo – [email protected]
  

Corroboramos –para utilizar una palabra poco precisa- que nosotros mismos somos cuando lanzamos miradas lánguidas a nuestro contorno fotográfico medianamente preciso; y se destacan con intermitencia los gránulos de lo que imaginamos que es nuestra figura, sobreimpresa en un mar de desemejanzas. Un torso –decimos- es poco menos que un cuerpo. Y nos amparamos en la mínima certeza que puede derivar de nuestras precariedades cuando no llegamos a observar que la materialidad misma de aquellos desfasajes y desavenencias con el mundo – de nosotros mismos – es en definitiva un acotado paisaje de fragmentos.

Lenta biografía, Sergio Chejfec

I have composed Tramados as a comission from MAB and Ensamble Camará (Salvador de Bahía) after receiving and Honorable Mention at Premio Latino- Americano de COMPOSIÇÃO PIERO BASTIANELLI on April of 2015. It was premiered in december 2015 at Goethe Institute chamber hall at Salvador de Bahía, Brazil by Sarah Fernandes (Violin), Victor Rios (mandolin) and Gilson Santana (Guitar). In this piece, for guitar, mandolin and violin, I have worked on the similarities and differences of the instrumental organic itself, as on their tuning, on their constructive materiality, on their technical possibilities of execution, thus defining homogeneous and heterogeneous sonorities among themselves. In this sense, another aspect I took as premise related with this idea of tension between the clarity or diffusion of perception of the instruments was the one based on the continuity and discontinuity of the musical discourse itself, by the interaction of those particulars sounds among themselves and with the entire piece.

The title, Tramados, is in relation with the homonym technique used in graphic disign where in one dither image with a limitated palette of colors, the illusion of depth of the color is created because of the proximity and difussion of its pixels, and it refers, in this piece, to the permanent tension on the illusion of presence and absence of the timbrical characteristics of the instruments and also, in relation with the musical discourse itself, the permanent tension on the illusion of continuity and discontinuity.