Composer and Venezuelan cellist Paul Desenne (Caracas, 1959) is one of the authors whose work, "Hypnosis Butterfly" symphonic glosses based on the song "La Vaca Mariposa" Simon Diaz, it will be one of the pieces that will make up the repertoire of Simon Bolivar Symphony Orchestra, under the direction of Gustavo Dudamel, and will be taken to Bogota, London (as part of the BBC Proms) and at Carnegie Hall in New York.
This is what he says Desenne on his own work... "That work made it very quickly curiously As in two or three weeks I did it in a very natural way because the song is one thing we all know, La Vaca Mariposa theme the song is as cloned and multiplied, and has much to do with La Vaca Mariposa, but not a settlement or melodies.
"People tend to think that when one does Venezuelan music, an arrangement is made. For starters, the arrangements are compositions because you have to solve a number of compositional things when you make a deal, but in this case, is far from being a . arrangement because the melody is fragmented and only elements are heard, and is more of a comment, a symphony gloss is the same sense of a gloss with a verse from a poem and develop a verse about that verse was what I did with this work, as a gloss, where fragments of the song are their respective development, a kind of illustration.
"I liked to emphasize the melodic whim rather than on the content or the eventual text. Sometimes I paint a picture, for example," and parakeets go and hawk "too, and when the song says those things appears as a cloud of parakeets flying or whistling hawk appears in the distance. small things like children appear illustrative, I liked to do a little thing that naive, an altarpiece.
"There is also the calf. At the end of the song violas appear and there is some of that paint the Achilles Nazoa, as a pseudo-naif that is not naive. At the same time there is much science orchestral criollismo I have developed, it's not easy. it took me about 25 years to find that Creole writing for orchestra, and when and play "loose chignon" Let's speak-enters a warmer development, has a merengue, a kind of joropo , an orchestral mass valseado joropo.
"When comes the orchestral density towards the second part of the song, before the recapitulation, symphonic writing is very subtle, is very polished and has the experience of many years experimenting and Creole works, which are not folklorists, but are works where I try to tradurcir the spirit that we have in our music, our contrapuntal courage, polyrhythmic or multirrítmico melodic. All of that got into the orchestra, and that requires some experience. that work crystallizes some of that experience developed in previous works in many years. E
"It is a work that works very well for this purpose, which is to illustrate the virtuosity of the boys of Simon Bolivar, because it is a work that has great verve, very fast, has metals group passages very dense, very elaborate, has rhythmic games quite daring, things quite crossed that a European listener can be very orginal. it shows those things that have the orchestra, is a Venezuelan post at the same time. that's what I feel, represents very well what the Venezuelan music, a condensed poetic".
Let's see how it will go to the Simon Bolivar Desenne Paul's hand in the coming days.
