obelisco|invertido

For Bassoonist
Dedicated to Warren Enstrm
Omar | Fraire
2015_Connecticut | US

Program Note
Obelisco Invertido Is derived from the piece Mazunte for solo clarinet (2006), by the Mexican
composer Hiram Navarrete. It is a musical quote in which the pitch progression of the alluded work
is inverted. The irreverence of the gesture is taken from Eduardo Abaroas piece Obelisco roto
porttil para mercados ambulantes A Portable Broken Obelisk for Street Markets (1993).
Thanks to Hiram for his collaboration throughout the process of writing this piece.

Nota al Programa
Obelisco Invertido se deriva de la pieza: Mazunte para clarinete solo (2006), del compositor
Mexicano Hiram Navarrete. Es al mismo tiempo una cita que invierte la direccin progresiva de la
altura en la pieza alusiva. La irreverencia del gesto es tomada de la pieza Obelisco roto porttil para
mercados ambulantes (1993), de Eduardo Abaroa.
Gracias a Hiram por su colaboracin en el proceso para escribir esta pieza.

-Are you doing a definition of principle by this use?

-No, we are against any kind of pedagogic device, we
have no message to convey, we are artist, we make
artwork, not propaganda. On our use of quotes we
expect to be close what Benjamin wrote: A quote
must be like a bandit who assaults passersby
Claire Fontaine
Every room could have an anti-room
(A misheard) Dr. Chicago

- Estn haciendo alguna definicin de principios con

este uso?
- No, estamos en contra de cualquier tipo de
dispositivo pedaggico, no tenemos ningn mensaje
que transmitir, somos artistas, hacemos obras de
arte, no propaganda. En nuestro uso de citas,
esperamos estar cerca de sa que escribi Benjamin
diciendo: Una cita tiene que ser como un bandido
que asalta a los transentes
Claire Fontaine
Cada cuarto podra tener un anti-cuarto
Dr. Chicago (mal escuchado)

Obelisco Invertido
(Inverted Obelisk)
Omar Fraire

A slow exploration of all the register of the instrument through a descendant and
continuous glissando.
Performance should last between ten and fifteen minutes.
Dynamics should be as stable as possible and change very gradually according to the
nature of register.
This score could operate as a triggering device for the solutions and interpretations that the
bassoonist may provide, i.e. the probable impossibilities of realization should provide the
form of the piece and the shape to the content of it.
Performing the piece with the bassoonist hanging upside-down or with the instrument
upside-down could be considered.