Tal Vez Quizas
for extremely amplified clarinet and live video.
Tal Vez Quizás (2006) (maybe perhaps) is an independent work as well as it is going to be a part of the chamber opera or scenic cycle Buenos Aires, which isn’t going to be about the city but about air, as a positive AND negative phenomenon, symbolized by the extreme distance between the name of this enormous metropolis and its environmental reality. In the cycle T.V.Q. works formally and dramatically as an echo of a kind of love scene.
The work slowly moves towards the border zone between abstract and concrete. The visual – the live video – is not an extra layer added from the outside, but an attempt to do an musical expansion from within. An attempt to introduce the visual as a musical parameter: A musical event can be either loud or soft, fast or slow, sharp or round, sounding or visual. Or one could say that the camera is an independent instrument, that can take over from and communicate with or be a counterpoint to the sounding instrument(s) – and following the same conditions and logics as these.
Two cameras are used: One fixed camera in the length of an arm away from the player, and one mobile camera fixed to the mouthpiece of the clarinet. Both cameras are adjusted to a focus distance of about three centimetres and enlarged on the back wall. An ultra close up or a view through a microscope that – in the same way as the extreme amplification of the minimal dynamic levels – removes the border between the instrument and the human behind it (normally well hidden in classical instrumentation). An extreme fragility and intimacy – in a way more naked than with out clothes…
Who knows, tal vez quizas – maybe perhaps it’s best to leave this double longing unfulfilled anyway:
The lovers unbearable longing for the intimate moment – only sublime because it can’t be reconstructed.
The music’s painful longing for becoming concrete – with the danger of loosing itself.
Stills from the piece: