Suite for rock trio and acoustic quintets
elec.gtr-Bgtr-drum set; fl.cl.ob.tsax.bn-hn.2tpt.trbn.tuba-perc(4):I=glsp/claves/darabouka; II=almglocken/kalimba/tabla; III=steel dr/teponaxtli/djembé; IV=t.bells/marímbula/cajón-prepared pft-strings.
This work is available from Boosey & Hawkes for the world.
World premiere complete
Estonia Concert Hall, Tallinn
NYYD Ensemble / Olari Elts
Lo Nato es Neta (The Innate is true) (2001-2003) suite for rock trio and acoustic quintets, was created under the auspices of the National Fund for Arts and Culture (FONCA) Young Artists programme, and its fundamental aim is to explore in depth the possibilities of drums and electric guitars in combination with the acoustic chamber ensembles of the classical concerto tradition. It was originally called “Equinoccio”, and to begin its composition, I drew a blue print based on the astrology of a hypothetical equinox. I first assigned each instrument a celestial entity; I assigned electric guitar the solar sign, which is the sign of the zodiac where the Sun is at birth and represents the basic character, the individual essence. The bass guitar was the rising sign, which is the sign that comes out in the east at the time of birth and represents the foundations of personality, the face we show to the world. The drums interpreted the midheaven, which is the sign found at zenith and represents aspirations, desires and ideals.
I then assigned planets and asteroids to winds and strings, using the mythological characteristics of the Greco-Roman gods they represent. I gave the twelve signs of the zodiac to percussion instruments and I converted the prepared piano into the North Node of the moon, which is the northern point of the sky in which the lunar trajectory crosses the Earth’s orbit.
Everything was going as planned until I felt obliged to violate the blueprint for the good of the music, which condemned the plan to oblivion, given the obvious futility of a violated blueprinted. However, I liked the idea of astrology, so I decided to analyze what I had already composed and recorded from the point of view not of a hypothetical equinox, but from that of my own astral chart. For this, I sought help from a professional astrologist to interpret my birth chart, placing emphasis on looking for the possible relationships between angles, planets and signs I mythologically gathered, and to see whether they were clearly related in my birth chart astrologically. I then renamed the movements, imposing a character from each one at will, and finally I asked the astrologist to investigate the relevance of the role played by each character imposed at will.
The result was surprising. All of the aspects which astrology indicated had, in fact, a musical counterpart; positive and supportive aspects between planets, as trines and conjunctions, which when interpreted in the manuscript resulted in trios and duets between instruments, or negative and confrontational aspects, such as oppositions and squares, which were found as contrasting counterpoints, or the influence attributed to the presence of a certain planet in a certain sign that fit perfectly with the nature of the solo played by the corresponding instrument…
Given the abundance of chance, I chose to give them the benefit of doubt and consider them as possible causalities. Perhaps the influence of stars on our lives plays a decisive role to the extent of dictating invisible decisions in our creative processes. If the surrounding energies at the time of birth can define the destiny of a composition many years later, then there are no coincidences, and clearly “The Innate is true”