Jesús Torres, Proteus “a work stops belonging to its creator to pertener to the others”
Jesús Torres with we inaugurated it this section of “the present” in that we will speak of the new composers of the moment, Jesús Torres is composer of diverse works and winner of some recognized prizes.
1. To speak of Jesús Torres means a great musical contribution to the today society.It means in addition the continuous development and searches to new musical approaches that obvious have seated a style of composition in our borders.Nevertheless, like all great composer, the impotence of being understood by the society is not an element that it denotes that (the society) sufficiently it is not prepared to understand the current trends.Therefore, we would like to know like were their musical beginnings like composer, if sometimes she has felt a lack of lack of understanding on the part of its companions and hearing (knowing that nowadays the figure of Jesús Torres is consolidated and based).
If it thought about the taste of the hearing or what amount of people are kind to the work of one, it would be paralyzed in my activity.I write music by an urgent inner necessity and is my better and more authentic way to express to me;this is recognized by certain people who make me feel very well accompanied in this artistic trip.As it cannot be otherwise, the beginnings of an artist are hard, but this goes to the benefit of the artistic creation.At this point of my life, I see without no resentment the negative events of my trajectory and with a great hope in the future by everything what I have left to do.
2. George Benjamin or Sir Peter Maxwell Davis could represent the present musical tendencies in the United Kingdom, the wire that unites the previous composers with whom they come in way.To speak of Beat Furrer could be an example in Austria and Germany.And Jesús Torres means one of our maximum exponents here in Spain. Nevertheless, to reach an artistic solidity, in his biography it speaks for example about Francisco Guerrero.But, exist outside some present does composer or of our country in which he can he doesn't turn reflected at this moment?Since we can appreciate as different musical sources are different between borders, we would like to know with this question, if these sources also influence in their compositions.
The sources of a composer always ample and are varied within their cultural surroundings.This, is going away to allow to me, I leave it to the musicologists. In any case, my maximum pleasure as listener has been to already listen to musics written for several centuries, and very particularly the polyphony of the Spanish and flamenco teachers of centuries XV and XVI. How much it has of this in my music? I do not know it, but certainly it is possible much to be found if the suitable directions are taken.
3. Your works have traveled by several countries and cities, under the same universal language, music. In which audiences or countries we will have the luck to listen to and to contemplate its work recently?
One of my interpreted works of camera more, Trio with piano, - around one hundred hearing, mainly by one of my more assiduous interpreters, the members of the Arbós- Trio, are going to sound for the first time in the mythical Konzerthaus of Vienna by the Wiener Klaviertrioque also will bring it to Madrid in the next months. In Spain my music with assiduity is interpreted enough and in these next months it is going to be in enough cities: San Sebastian, Valencia, Saragossa, Palm, Bilbao, Vitoria, etc. my music in several European cities with camera works will be listened to soon also. Next year I go to Latin America by the interpretation of orchestral music.
4. Gustav Mahler said that he used to write his symphonies when he traveled to Austria in holiday periods, since during its season as director were very occupied and perhaps, without inspiration to compose. Where it finds its sources of inspiration? Exist the suitable does moment to do it?
I do not consider my sources of inspiration because I imagine that they are and ground not to throw them always there in lack. He is something that is had or it is not had, one does not study.
5. At moments of blockade what usually does? What gives back the magic to him?
The time, to let pass the time, all solves it.
6. In one of his interviews, it comments that from small good it knew that wanted to be composer. Resembled is the dream the reality?
As always it has been thus - the intention to be composer -, I have not stopped myself to think if I have fulfilled a dream. It is so transcendental part of my being who could not have been another thing, or if it he had been (another thing), he would be incomplete.
7. It has received numerous prizes and recognitions already, but, which is the one that remembers with more affection? Why?
The last one received, the National Prize of Music, has given a special joy me. I must also say that one can be an extraordinary artist and not to have received no, and to a the inverse one, to receive all the world prizes and to have little value.
8. Our motto is “the done expression sound”, for that reason it wanted to speak of one of its works, Proteus. This can be considered all an ode to the rate and the poetic figures. You could speak to Us of this work? How arise did the work?
Juanjo Guillem, musician very related to some of my works of percussion, asked for a piece to me that “outside easily transportable” to any place, thus is that I made a piece where I do not indicate the instrumentation with exactitude if not only the material of which it is constructed: metal, wood, patch. In addition, I add the voice - with a gorgeous purely phonetic poem of Juan Eduardo Cirlot (exciting poet) - who will recite in certain points while it plays and, even, its own body, being fused in an all inseparable one.
9. Daniel Martin interpreted Proteus in London in 2011, in the Royal Academy of Music of London (examination race aim).It understands or it interprets that the musical structure of this work comes reflected by the meaning from the Proteus image, that is to say a continuous change so that it does not let see a clear resolution the construction and development of reasons. Sensation of structural change and musical texture with the purpose of not providing a near answer. Nevertheless, to understand that the general meaning of the work comes provided by this exposition and that there is no better answer than the uncertainty, which is worth to be able to understand the intention of Proteus. It could speak about it?
It always interests everything to me what the interpreters of my music say, and in many occasions, until they clarify aspects to me of her.The protein image is exciting. Here, - Proteus (God of all the forms) - it is represented by the multiplicity in the loudness, always different according to the instrumental election of the interpreter.One and only multiple one simultaneously. I like what you say of the uncertainty;there is much of that.
10. The use of the body like musical instrument, denotes the maximum essence of the percussion in the interpretation of the work. Far from being static, Proteus takes to the spectator to maximum sensitivity. You looked for this sensation during his composition?
When I compose a work I do not know, or at least I am not conscious, what sensations are going to produce to a listener or an interpreter, his essential diffuser. This is a work that is being interpreted regularly by young percussionists of very diverse places.They have only spent nine years of his composition and in Youtube there are right now five versions and two of them are of a French and a Pole. This indicates that many are being identified with her. What can more be asked of a work!It stops belonging to its creator to belong to the others.
Proteus, Jesús Torres
We appreciate to Jesús Torres his collaboration in this blog.