ALEPH Guitar Quartet

This piece belongs to the »Fluxus« cycle, inspired by physical elements, in which musical elements are developed with reference to aerodynamic phenomena and fluid mechanics. »Fluxus, Vortex – Schubkraft« (vortex for »impulse«), exists in 2 versions: in an acoustic one and in one for guitar quartet and spatialized electronics for a dome-shaped sound system (which is also adaptable to simpler systems). The instrumental composition is based on the simulation of electronic processing that can induce a fusion of listening between the acoustic and electroacoustic universes. This coalescence is reinforced by the electronic composition which uses synthesis based on physical models, thus making it possible to create guitar sounds that would not be physically possible. The formal aspects of the electronic version are driven by spatial »shapes« or »paths« that relate different parameters to create movements that I have called »elliptical rotations«, »spirals«, »rotations«, »spectral explosions«, »sound suctions«, »sound walls«, »points«, »geometric shapes«, »Lissajous curves«, »sound swarms«, among others, which are related to formal aspects of the macro structure and also to the »energy flow« present in each one of the sound worlds used. The work is dedicated to the ALEPH Gitarrenquartett, which commissioned the piece with the generous support of Musikfonds e. V. together with the ZKM | Center for Art and Media Karlsruhe, where it was created during an artistic residency between 2018 and 2019.

This work acts as a metaphor about space, theology and mythology of ancient Egypt. It is an abstract cartography of spiritual knowledge. The Egyptian plateau of Sakkara is a unique place of this mental, physical, religious space, whose architect was the great master builder Imhotep. The musical work unfolds itself in three movements with certain images related to specific landscapes such as the desert, the earth, the water (Nile), the architecture (Djoser's pyramid), the writing (Thoth), the lotus flower as a symbol and as ornamentation, etc. The dramaturgy of the piece represents three different stages by means of the three gods of tradition in the time of Memphis as the capital: the god Ptah, his wife Sekhmet and his son Nefertem. Ptah as the god of time, Sekhmet as the goddess of the desert, war and fire, and Nefertem as the god of new beginnings with the lotus flower as a symbol.

The ALEPH guitar quartet opens up different sound worlds to characterize the three movements. Each character is reflected in the musical material. The three movements are:
1st: Ptah (grammar of time)
2nd: Sekhmet (grammar of fire)
3rd: Nefertem (grammar of the lotus flower)

A commissioned composition by the ALEPH guitar quartet.
With kind support of the Aventis Foundation.

Author: José María Sánchez-Verdú

A place created by music and defined by music. A place where four players meet, imitate each other, cover or reveal each other, interrupt, ignore, stop, listen to each other, vary, play with each other, keep silent together, »talk« to each other and sit still, act into the silence and react to audible movements. A place opened and bounded by movements. A place of remembering, connecting and letting go.

Author: Zeynep Gedizlioğlu