Artistic project


My interest in the concertante spirit resides in the tension between writing that exploits the value of all the instruments while establishing complex ties between them and the writing for the soloist. The generic name “Trame” is inspired by a poem of the same name by Jorge Luis Borges, which unveils for us the synchrony that exists among all elements constituting “universal history.” Less ambitious and more circumscribed, my Trames evoke simply the “weaving” proper to each composition, its “Ariadne’s thread”, hidden or evident. They successively explore the compositional issues that preoccupied me at the time of their writing, like an intimate diary. Trame IV comprises five continuous movements. “Variation”, or better still, “re-interpertation” is the main idea of each section. Apart from the prologue and epilogue, the three central movements are constructed following these processes: the first, which exploits pianistic writing based on color and lightness, is a cycle of five “reinterpretations”, the last becoming a loop; the second is a slow movement, based on a harmonic chain, with its commentaries and paraphrases; the third is a suite of reinterpretations of a polyrhythmic figure. The prologue is conceived as a micro-image of the piece in its totality…, the epilogue, contrary to its conclusive nature, leaves the piece open to further developments.

Martin Matalon