Miharu Ogura / Alberto Posadas

Music takes shape in music itself, since it can only express itself through music. This, in essence, is my approach to composition. What interests me is to take the sound itself, as well as the original sound quality of an instrument that musicians have been honing since childhood, to exploit their physical abilities and to expand them. The title is the first information we receive before the first sound even emerges as a truth. Finding a word or text that evokes what I have composed and resonates with the piece is like finding an edible mushroom in a forest. Will it one day be possible to give it no title? The word rifrazione (refraction) that I eventually chose as the title can be interpreted as an image of the piece, but I cannot impose this interpretation. Rather, I chose it to draw attention to the observation of the phenomenon of the movement and the reaction of the sounds. In other words, one does not observe the rifrazione directly, but it becomes the irradiation itself and follows the process of rifrazione.

Miharu Ogura

Erinnerungsspuren by Alberto Posadas is an homage to the piano in six parts. What matters in this cycle is not to make explicit connections to the past. Posadas rather discerns concepts from the historical repertoire, namely Erinnerungsspuren [memory traces], that find expression in pianistic experiments. Anklänge an Stockhausen (August 2017) refers to Stockhausen’s Klavierstück IX, with its underlying idea of how repetition can work as a mechanism for transforming perception, modifying the memory process. Monologe by Bernd Alois Zimmerman is the referential piece for the last work in the cycle, Anklänge an B. A. Zimmermann (February 2018), in which Zimmerman performs a double exercise with memory. On the one hand, it is a memory trace of his work Dialoge and, on the other, of quotations from other composers that he incorporates into the piece.

Alberto Posadas