For flute, guitar and piano
Commissioned by Almaviva ensemble.
The piece was written for the members of the Almaviva ensemble: Monica Taragano, Ezequiel Spucches and above all their guitarist Pablo Marquez with whom I have a long friendship built by diverse musical collaborations.
The material is drawn from Aliados Invisibles for flute and fixed sounds (now removed from my catalogue.)
I was never satisfied with the first version of the piece but I developed a guide of fixed sounds for it, a sort of cantus firmus, that led the instrumental writing. In this fixed medium, the elements which evoke precise images, mostly trains, are more important than the musical elements strictly speaking. These evocations are transformed in the trio version especially in the materials developed by the prepared piano and the guitar.
The piano preparation is of great importance because the sonority sought place it in an intermediate phase between strange objects and figures which come from the electroacoustic thought.
The formal material of the piece seeks to call the “invisible friends” who are no other than those closest to me that died and who frequently nurture my imagination and my internal dialogues. Among these dead people there are some strangers such as secret victims and those forgotten by history. That is the reason for the trains, and above all the trains of the deported, and the constituent of the evoking element of the piece (audible in the original electroacoustic part, that I then removed from direct audition)
To perform this piece it is convenient for the instrumentalists to perform taking into account these sounds and evocations.