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When the same material is repeated and developed in a continuous and prolonged way throughout the discourse, our perception can focus on diverse aspects and finds the possibility of exploring other sensitive planes. This way, the work seeks to question what happens the moment our wonder at certain sound stimulus comes to an end, or what happens when it ceases to be novel.

In spite of the historical distance, we could associate this with Descartes’s ideas exhibited in his treatise “Passions of the Soul” where he expresses that the admiration is intricately related with the idea of surprise and novelty and has the purpose of taking into account the objects we consider strange and extraordinary in order to preserve and retain them; he also states:


“... when it is excessive [admiration] and makes us fix our attention solely on the first image of the object before us without learning anything more about it, that gives the soul a habit of dwelling in the same way on everything it encounters that seems in the least new. This is what makes it hard to cure the ‘blind curiosity’ disease whose victims seek out rarities simply in order to wonder at them and not in order to know them...”

Somehow, the work proposed seeks to delve deeply in what the discourse of sound can express as a whole, which not only includes what takes place in the work from a sound-plane perspective, but also attempts to stop and perceive what contemporary music triggers in a more sensitive and expressive plane.

This work, composed within the framework of the composition course Fragua, will soon be performed by the Argentinian clarinetist Eduardo Spinelli and the German oboist Christian Kemper in 2021.


Photography: Horace Bravo

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