DE LO INFINITO

Musical Journey Through the Contradictions of Our Era

Work: De lo infinito
Composer: Juan Arroyo
Duration: 20 minutes
Instruments: 2.2.2.2/2.2.2.1/4 perc, piano and string quintet

Inspired by a collection of articles published under the title A Paso de Cangrejo by the multifaceted Italian intellectual and novelist Umberto Eco, I conceived a paradoxical and sonorous world, enveloped in the contradictions of our time. Written before, during, and after my stay at the Villa Médicis in Rome, each title evokes certain passages from Eco’s work while each movement attempts to unravel an enigmatic and dreamlike temporal space. De lo Infinito emerges from the profound philosophical reflections that Umberto Eco makes on the state of the world at the beginning of this new millennium.The trajectory humanity is taking paradoxically resembles a backward movement, commonly referred to as the «crab walk.» The ancient territorial conflicts, wars with a crusade-like air, the expansion and acceptance of totalitarianism, racism, and homophobia in multiple forms, confirm Eco’s thesis several years after the first edition of his book. With this work, I pay homage to the writer and his work, a few years after his death, and invite the listener to reflect on our role in the history of humanity.

I. Crepúsculo del inicio This first movement immerses us in a sonic twilight, evoking the beginning of a mysterious and hallucinatory journey. Inspired by Umberto Eco’s reflections, this segment explores the dawn of a new era, where paradoxes and uncertainties shape the landscape of the modern world, seen through an enveloping prism.

II. A paso de cangrejo The second movement takes us on a paradoxical journey, similar to the «crab walk» described so well by Umberto Eco. Humanity seems to move forward by stepping back, revisiting territorial conflicts and ideological wars, while facing the rise of totalitarianism, racism, and homophobia. This musical passage seeks to capture this backward movement and its repercussions on our society, enveloped in a surreal and hallucinatory atmosphere.

III. Retorno a la incerteza del gran juego The final movement evokes a return to uncertainty and the grand game of life. Imagined during my stay at the Villa Médicis in Rome, this segment pays homage to Eco and invites the listener to reflect on our role in the history of humanity. Through this work, we revisit the themes dear to the writer and his philosophical reflections on the state of the world at the beginning of this new millennium, all bathed in a dreamlike light.

Written for orchestra, De lo Infinito lasts 20 minutes and was premiered on November 22, 2019 by the Symphonic Orchestra of Peru, conducted by Fernando Valcarcel at the Great National Theater of Peru. This work was commissioned by the Symphonic Orchestra of Peru.

Author: Juan Arroyo

Composer in residence at the Center Henri Pousseur (2014), IRCAM (2015), Cité Internationale des Arts (2015), Member of the Academy of France in Madrid – Casa de Velazquez (2016), at the Art Zoyd Music Creation Center (2017), member of the Académie de France in Rome – Villa Médicis (2017), Juan Arroyo is actually the guest composer of the National Orchestra of Peru, co-artistic director and conductor of the Regards ensemble, co-artistic director of the Sonomundo Festival, curator of the Experimenta festival at the Great National Theater of Peru, professor at the d’Argenteuil conservatory and member of the Artistic Council of the Casa de Velasquez. Juan Arroyo was born in Lima, Peru. He studied composition at the Conservatories of Lima, Bordeaux and at the National Conservatory of Music and Dance in Paris. He deepens his musical knowledge in formations like Voix Nouvelles and the IRCAM. He has been guided by eminent composers such as Allain Gaussin, Brian Ferneyhough, Heinz Holliger, Henri Pousseur, Jean-Yves Bosseur, Luis Naón, Mauricio Kagel, Michael Levinas, and Stefano Gervasoni. His music is rewarded with numerous awards such as the prize of the Salabert Foundation (2013), the prize of the Academy of Fine Arts of France (2015) and the Ibermusicas composition award (2022). He receives prestigious commissions from the French Ministry of Culture, Radio France, Centre Henri Pousseur, SACEM and Donaueschinguen Musiktage. His works are performed by eminent musicians such as Ensemble Intercontemporain, L’Itinéraire, Linea, LAPS, L’Arsenale, Proxima Centauri, Sonido Extremo, National Orchestra of Peru, Vertixe Sonora and Tana Quartet. His music is performed at great festivals such as Ars Musica, Présences, Cervantino, La Chaise-Dieu, Ensems and ¡Viva Villa! His compositional work revolves around sound hybridization. Indeed, in 2014, he began a fundamental stage of his artistic work with the construction of new instruments capable of transmuting their sound, the TanaInstruments. This allowed him to hybridize the perceptual cues of sounds in order to reveal the evocative and irrational nature of their substance, sometimes making them enigmatic.

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