In view of the beginning of a new year, I decided to write a few lines and make them public as a reflection of these last two years of sound activities.
Those who follow me or are assiduous to my presentations, but more specifically those who have not had the opportunity to know in depth my past activities, will surely find some controversy in presenting a multiplicity of aesthetics throughout these two years. Of course it is not accidental, and I will refer to that briefly in this review.
I have had the opportunity to work with musicians of international stature from a very young age for the last 30 years: Argentines, Russians, Israelis, North Americans, French, Germans, many languages in between, and, most importantly, diverse lines of thought in, and with all of them. For reasons that are not entirely clear, at least to me, I have once again immersed myself in the traditional piano repertoire. This has meant returning to old musical affections, but with a renewed focus if I may digress. Sometimes it is necessary to highlight the transit that one has had through the years or decades, more than anything to make visible an idea or a behavior, or a conceptual forcefulness. But I have immersed myself in a few ideas or concepts, perhaps too many ideas and too many concepts. I continued a line of thought that is the only one that I affirm singularly and that I can corroborate in a causal and thorough way in the development of my musical thought: to be true to myself. For this reason, I have interpreted from pieces by Morton Feldman and Henri Dutilleux, to sonatas and trifles by L.V. Beethoven, I composed serial, post-minimalist, conceptual, scenic works. And this, which in the last two years has been evident, must be clarified, or rather, underlined. I have been questioned to a certain extent my experimental background, and the reason for my recent immersion in the classical repertoire. I have never let go of it, just as I have not clung to it permanently. And yet you have to give explanations that are fortuitous, that are mostly unnecessary, or abundant in platitudes. I am not specifically a musician of a traditional nature, nor do I identify with a specific avant-garde current. The exclusivity to which I belong translates into a fidelity to the visions that appear, those sometimes ephemeral commitments that later crystallize in compositions or interpretations. And the care and effort involved in developing these sometimes ends and sometimes not. Or recap, as happened this year. So, and in view of discovering what 2022 awaits me, I congratulate myself in endless genuine and contradictory searches, I propose to return in the future to these two years that have passed and that will surely be indelible for many, especially due to the pandemic times and its consequences. To continue creating. For my part, I continue.