Secas las pilas de todos los timbre
Secas las pilas de todos los timbres intends to be a song of love and solidarity in a world in which love has been forgotten and where the requests for solidarity do not even arrive to be heard. It deals with symbols, not necessarily to be decoded by the listener or explained to him. All material - a new self-challenge - comes from sound documents of different places and times, connected in one way or another to the composer's affectivity. With one exception, none of the original pitches have been modified. Even if there are no electronic sounds, the whole piece has been composed with (and inside) a computer, using several software programmes, and a couple of additional devices (sampler, digital reverberation unit). The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos Discépolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The piece was composed thanks to an invitation of the Akademie der Künste in Berlin in its Studio für Elektroakustische Musik. An 8-channel version was re-mixed at the Elektronisches Studio des Instituts für Neue Musik in Freiburg, Germany. Secas las pilas de todos los timbres has been composed at the Studio für Elektroakustische Musik, Akademie der Künste, Berlin, between the 16 may and the 19 june 1995, with a revision the 21 june. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz and Gerd Rische, and the hospitality of the Akademie der Künste, Berlin. Secas las pilas de todos los timbres is almost entirely between mezzoforte and pianississimo. There is a fortissimo close to the beginning, between 0'48" and 1'05". The listening hall should be, for this composition, totally silent.