Eires
In this brief presentation it is not my intention to explain the concepts on which this play
is based neither its genesis since, actually, an impulse for an artistic work is never born from a
theoretical comprehension. In fact, the work of art is created by intuition, even though this one makes
reference to theoretical models. Wanting to relate a superficial explanation of elements that follow
one after the other, in a logical order, to what in reality is the fruit of a deep search of the
relationship between man and spirit, would be like trying to comprehend the beauty of a geode thinking
about the mathematical and chemical formulas that regulate the disposition of its crystals.
That would give more importance to the process that carried out that result than to the astonishment
by the result itself. Paraphrasing Magritte it could be said that if what is expressed by music could
be explain with words, the words would be enough and the music superfluous.
What it interests me, instead, is to give some indications that allow to interpret the content of the play according
to the correct key of reading.
The play Eires, written specially for the Nahual trio, is a theme with variations that is articulated in six sections:
the initial theme, of a serial character, and five variations of which the last one takes back in a
contrapuntual way the diverse cells of the series, creating a circular movement that brings back the
development of the variations to the initial idea. The sonorous and thematic material has been treated
in such a way that the instruments cooperate to the realization of a unique musical idea. This is why
in the score it has not been always possible to follow a peculiar coherence in the writing of the voices.
In fact, often the guitars split one same part with the purpose of allowing the overall performance of
the musical idea. For this reason, the listeners and performers of this play are invited to keep in mind
such indication and to look for, within the musical tissue, the totality of the play rather than the
particularity of each part. There are three performers but the music being played is one, there are
three guitars but the instrument that result from this is one. Therefore, the dialogue does not only
occur between one instrument and another, but often also between one melodic line and another played
by different instruments within the score.
Since it is not possible to write everything that music requires, admitting that this one always requires the same things,
it has been attempted to give all the instructions that allow an optimal comprehension of the play in each
of its parts. Where it has not been possible to include what music deeply requires during the
performance, it is expected that the good sense of the musician intervenes, or even better, its experience
and its sensibility. Therefore, it has not been intended to give indications in absolute sense, neither
with the fingering nor with the dynamic and agogic indications proposed. Rather, and interpretative
proposal is given to the light of everything that has been actively experimented at the moment of the
performance. With regard to this, I am deeply grateful to the Nahual trio (Mauricio Gonzalez, Rodrigo
Herrera, Josue' Gutiérrez) which I have been fortunately to collaborate with, since without its
technical and mainly musical contribution, this play could not have assumed the value expressed here.
Download the Eires cover
Download the first page of the score (pdf format)
