SABIA

A Harmonic Tribute to Earth’s Endurance and Transformation

Work: Sabia
Composer: Juan Arroyo
Duration: 20 minutes
Instruments: for 4 hybrid musicians

Sabia is a unique work that transcends the boundaries of classical music to offer a sensory and emotional experience. Composed by Juan Arroyo, this non-liturgical Requiem unfolds in four offerings: Earth in Flames, symbolizing the fury and devastation of the earth under human impact; Breathless Water, representing the almost lifeless tranquility of waters deprived of their vitality; Sandy Air, evoking a heavy and oppressive air, laden with grains of sand as witnesses of time; and Borderless Fire, depicting a devastating blaze, an outpouring of untamed flames. Each part is designed as a concerto, where instruments take turns as the soloist, thus bringing a richness of timbres and a diversity of sound. The role of the soloist here is not to shine by their virtuosity but to integrate and enrich the collective musical texture. The musicians of Sabia wear hybrid devices in their bodies, transforming them into both performers and loudspeakers simultaneously. This innovative technology creates a new sound dimension, enriching the auditory experience of the audience. Sabia draws its inspiration from the ritual practices of Andean cultures, particularly Pachamama, the goddess of the earth. It is a ritual work dedicated to nature in decline and an offering for its healing. The name “Sabia,” meaning “wise” in feminine Spanish, reflects the wisdom and respect we owe to nature, this precious heritage that we must preserve. The creation of Sabia is the result of a deep reflection on the current state of our planet and the consequences of human actions. Juan Arroyo was awarded a writing grant from the French Ministry of Culture to compose this ambitious work. Its premiere took place in November 2019 at the Rocher de Palmer in Bordeaux, performed by the ensemble Proxima Centauri. Dive into the universe of Sabia and let yourself be carried away by this symphony of timbres, a musical meditation on our earth and its future.

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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