Altar de luz

 It is a rediscovery of what takes place in the street: the rapid steps, the marches and sounds, the cries that clog the air, the web of silence in the trees, the simple idea of falling silent before what we see, the fragments of some thought dropped to the ground. The language of Altar of Light is as disconsolate as some dreams, but also as deep and absolute as certain longings. The voice of Altar of Light is rebellious and overflowing, irremediable, perhaps, like the sound that renews us in every note.

 Altar de Luz emerged from work in partnership with the Mexican poet María Baranda. Her evocative poem “Lumínica” gives rise to the initial musical ideas, which are treated at the beginning of the work in a poly-choral fashion, that is, using several choirs and evoking the polyphonic music of the 16th-century Venetian composers. At the time composers tended to write music for two or three choral groups, who were placed at a distance from each other in order to create a polyphonous architectural and acoustic effect. In this case, with the use of different electroacoustic processes and sound art the voices are multiplied, moved out of phase and distributed around the acoustic space, creating a similar effect.