NOTA: Este articulo fué publicado originalmente el dia 14 de Abril de 2006. Para comodidad de uds. se vuelve a hacer público con un enlace de descarga del álbum completo.

Silencio
Gidon Kremer & Kremerata Baltica (Nonesuch, 2000)
9.9, según le bital
[Enlace Original de este articulo]

‘Hay que ver para creer, y sentir para escuchar…‘ Eso es lo que solia decir mi profesor de musica en la secundaria. Claro que despues de notar que todos los dias llevaba puesta una locion llamada Bacardi Blanco, era de esperarse que se le tomara con tan poca seriedad.

Si algo he aprendido estos ultimos años es a escuchar mejor. A sentir el arte mejor. ¿Que como? No lo se, es como un sentido extra que se adhiere a tu cerebro pasando por el oido, por el tacto, por la vista, y por el resto de tus sentidos hasta formar un hibrido que le da vida a un filtro por el cual tiene que pasar toda la informacion recibida.

Bueno, a todo esto, me acorde de estas palabras ahora que veia un capitulo de Los Simpson, en el que se construia un edificio super avant-gard para ocuparlo como foro de recitales, exposiciones y demas expresiones artisticas de vanguardia. Hasta Von Karajan (o Leonard Berinstein, no estoy seguro del parecido) es resucitado y traido a la pantalla por los creadores de Futurama y The Simpsons. En eso, cuando la audiencia poco culta (la masa completa en Springfield), decide abandonar la sala ante la inminente presentacion del concierto de la 5a. Sinfonia de Beethoveen, Marge en un desesperado intento por mantener a dicha audiencia dentro de la sala, les sugiere que se queden, porque esta a punto de salir a escena Philip Glass interpretando un concierto atonal… jajajaja

Me mori de la risa unos momentos, pero fue simpatico ver como es que mi familia no capto el chiste de la siempre bienintencionada Marge. Si ya me quiero chutar a Philip Glass en un minimalista concierto para noventa pianos preparados, tres helicopteros y cien ventanas… atonales, jajaja. Bueno, aqui unas frases famosas de gente infamosa que presentan esta serie de piezas que fueran ‘premieradas‘ (todas ellas) por la Kremerata Baltica (Gidon Kremer y su ensamble de cuerdas)…

One searches in the outer world as well as in others’ reflections of oneself — with all its insecurities, joys, convictions, evaluations. The world observes these oscillations of our feelings with a proud indifference. Here and there a person hurries by, producing a sound that resembles one’s own. But it’s already gone, and one is again embraced by silence. Our pain and insomnia as part of the whole. Our despair: a drop in an ocean. Death — the final bill, in which the challenge turns into a phantom. Ambitions, hopes, enchantment. All this finds its peace there in the world beyond.

…Words irritate. Gestures mislead. Emotions dissolve. Only sounds speak a lan- guage that might be understood. If one opens the heart, would there be someone receptive enough? But who is listening? Who is able to feel it? Often I do ask my- self, where does a heartbeat identical to mine exist? And the attempt of an answer is: out there, on the other end of my own sound.

— Gidon Kremer, from Obertöne

Music must be given the chance to express itself. Words confine music. And then, music makes itself dependent on words. In my view, the very existence of music is jeopardized by today’s society’s obsession with communication.

— Arvo Pärt

In early 1983 a new Beckett work was produced by Mabou Mines at the Public Theater — an adaptation for the stage by Frederick Neuman of “Company,” a short novel by Beckett. It was presented as a monologue in four parts, directed and performed by Neuman. The music was placed in the monologue according to Beckett’s directions. (”I see. The music appears in the interstices of the text, as it were.”)

— Philip Glass

The odd sound. What a mercy to have that to turn to. Now and then. In dark and silence to close as if to light the eyes and hear a sound. Some object moving from its place to its last place. Some soft thing sofdy stirring soon to stir no more. To darkness visible to close the eyes and hear if only that. Some soft thing softly stirring soon to stir no more.

— Samuel Beckett, from Company

One ancient hermit said to his disciple: “Strive to enter the inner cell of your soul and there you will behold the heavenly cell. Both are one: you enter them by the same door. The staircase to Heaven is inside you: it exists secretly in your heart.”

And it is true:
Our whole life is but an attempt to find this miraculous entrance.
All our deeds are but a timid knocking on this mysterious door.
All our hopes are to hear, one day, perhaps, a voice that would respond:
“Come in!”

For it is said: “Knock and you will be let in.”

— Vladimir Martynov

There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.

— John Cage, from Silence

Y bueno, ya, como se que muchos de ustedes ni compraran el disco (lo cual es una pena, por lo valiosamente artistico que el album resulta ser), pues les dejare casi todas las rolas para que se lo descarguen. Claro que si tienen la oportunidad, comprenlo, de verdad vale la pena…

Philip Glass - Company (Movement I)
Arvo Pärt - Darf Ich…

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Enlace: Kremerata Baltica @ Wikipedia

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