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Himno de Los Durmientes
Himno de Los Durmientes
DE
LOS
DURMIENTES
Omar
Fraire
2014
Hay
que
dormir
con
los
ojos
abiertos,
hay
que
soar
con
la
manos,
soemos
ros
ac8vos
de
ro
buscando
su
cauce,
sueos
del
sol
soando
sus
mundos,
hay
que
soar
en
voz
alta,
hay
que
cantar
hasta
que
el
cando
eche
races,
troncos,
ramas,
pjaros,
astros.
Octavio
Paz
-
El
cntaro
roto.
Program Notes
The
Himno
de
los
Durmientes
is
a
collaboraCve
piece
by
Omar
Fraire
and
Rolando
Lpez.
Its
a
curatorship
by
Punto
Ciego
FesCval
for
the
Guggenheim
Aguascalientes
Museum.
The
composiCon
is
part
of
a
whole,
is
apart
of
a
bigger
work
named
Guggenheim
Aguascalientes
Museum.
This
part
is
composed
by
Omar
Fraire
through
the
personal
sonic
reading
in
several
levels,
of
three
images
of
rail
train
sleepers.
Violin,
Viola
and
Violoncello
wake
the
sound
up
in
these
sleepers.
There
is
a
social
importance
behind
all
this.
Solomon
Guggenheim
was
in
Aguascalientes
a
hundred
years
ago.
He
had
a
mining
smelter
there
and
its
toxic
waste
are
still
there.
The
working
condiCons
were
bad
for
the
people
at
the
mine.
There
was
a
lot
of
working
risk
and
lot
social
inequality.
The
train
was
made
for
the
transportaCon
of
these
material
to
a
specic
place
in
Aguascalientes.
The
sleepers
of
the
rail
train
are
our
workers
and
our
sound,
we
want
to
wake
them
up.
Among
its
cracks
lives
the
Cme
of
those
days
and
the
sound
of
today's
hymn.
The
place
drowning
in
toxic
waste,
is
now
our
Guggenheim
Museum.
More
info
at:
hUp://guggenheimaguascalientes.com/himnodelosdurmientes.php
About
interpretaOon
and
wriOng.
InterpretaCon
should
be
preference
lying
on
the
oor,
with
a
special
stands
that
the
arCst
can
provide.
The
Hymn
form
is
three
solos,
one
for
each
instrumento,
separated
by
three
tuX.
Every
one
of
the
six
secCons
lasts
one
minute
ca..
Each
one
of
the
sleepers
is
interpreted
once
by
a
soloist
and
once
by
the
trio.
The
parCcelli
have
the
sleeper's
image
for
interpreCng,
the
wriUen
part
is
a
reading
possibility
of
the
sleeper's
sound.
The
musician
must
use
this
images
as
a
complementary
part
of
the
wriUen
part
and
he
can
use
them
to
interpret
whatever
he
doesn't
nd
on
the
score.
The
wriUen
part
suggests
the
interpretaCon
ways
that
can
be
done
from
the
sleeper's
image.
Each
image
is
divided
by
six
spaces
that
represent
ten
seconds
each
one,
then
each
sonic
reading
of
each
sleeper
lasts
one
minute
ca..
Inside
each
one
of
these
spaces
it
is
wriUen
the
sounds
to
perform.
Every
sound
event
should
be
performed
in
relaCon
with
the
occupied
space
inside
these
secCons.
According
to
this,
it
is
a
possibility
that
the
duraCon
of
the
piece
extend
itself
or
not
in
its
total
duraCon.
flaut
ecras
III
msp
ord.
0:10
0:20
0:30
0:40
0:50
0:10
0:20
0:30
0:40
0:50
clt.
III
IV
cl.punta
saltando
h
h
+
respirar cuando
sea necesario
possibile
Behind
the
bridge
Blow
through
the
F
holes.
Breathe
when
necessary.
Bouncing
the
bow
Cp
col
legno
between
two
strings.
msp
flaut
mst
ord.
II
III
Bow:
msp:
near
the
brige.
mst:
far
from
bridge.
aut:
almost
no
pressure.
ecras:
overpressure.
cl:
with
the
wood.
clt:
rub
with
the
wood.
(I)
Arrows
indicate
gradual
transormaCon
between
two
states.
Emty
space
means
silence
Measure
lines
every
ten
seconds.
III
flaut
ecras
III
msp
ord.
III
IV
0:20
0:30
0:40
0:50
0:10
0:20
0:30
0:40
0:50
clt.
0:10
cl.punta
saltando
h
h
+
respirar cuando
sea necesario
possibile
Detrs
del
puente.
Las
alturas
indican
la
cuerda.
PercuEr
el
centro
de
la
tapa
superiror
del
intrumento
con
los
dedos.
La
lnea
indica
prolongar
el
evento
encerrado
en
el
rectngulo
msp
flaut
mst
ord.
II
III
Arco:
msp:
lo
ms
cerca
del
puente
posible,
sonido
muy
metlico.
mst:
lo
ms
alejado
y
hacia
la
tasEera,
sonido
muy
opaco.
aut:
la
menor
presin
posible,
sonido
con
mucho
aire.
ecras:
la
mayor
presin
posible,
sin
altura
percepEble.
cl:
con
la
madera
del
arco.
clt:
frotar
con
la
madera.
(I)
Espacio
vaco
signica
silencio.
III
Pizzicato
con
la
mano
izquierda.
La
ligadura
indica
dejar
vibrando.
Pizzicato
Bartk
Par8tura
0:10
10
& 4
0:20
0:10
0:10
0:30
0:20
0:20
0:40
0:30
0:30
0:50
0:40
0:40
0:50
0:50
arco ad libitum
+ +
. .
SOLO
Violn
&
p
sul II
>
+
Violn
&
f
mst
Viola
sul III
Cello
msp
gg O
gg .
F p
mst
arco
msp
ecras
III
ord.
+.
P
mst
F p
III
0:20
0:20
pizz
0:10
0:10
msp
O O
+. . >
+.
msp
flaut
msp
ord.
mst
ecras
pizz cl.punta
f P
ord.
flaut
III
ecras
ord.
OO
msp
flaut
O O O
ecras
pizz
ecras
ord.
ord.
>
.
.
+
II
ggg OO
gg OO
-g
O ,
0:50
0:50
+. + +.
.
+
O
ecras
+
>
mst
0:40
0:40
clt.
II
III
II
ggg OO
ggg OO
g
pizz
0:30
0:30
ord.
msp
mst
ord.
.
f
ggg
ggg
g
fl
msp
cl.punta
saltando
h
h
p
+ f
ord.
0:10
&
Vlc.
1:10
1:20
1:30
1:40
1:50
flaut
Vla.
Vlc.
p
II
ecras
III
msp
ord.
+
j
.
1:20 1:20
1:30 1:30
>
+ . O. O
+ >
f
hh
+
cl.punta
saltando
F p
III
. O. O
+ >
f
1:40 1:40
ord.
mst
respirar cuando
sea necesario
,
O-
F
III
msp
1:50 1:50
1:40
+.
possibile
>
1:30
msp
oscil irreg
flaut
ecras
1:20
clt.
III
IV
+
j
.
S
trem. ord.
mst
flaut
lento
msp
ecras
flaut
1:10
+ +
. .
sul II
1:50
1:10 1:10
1:00
1:40
1:00
1:30
arco ad libitum
0:50
1:20
1:00
&
trem. ord.
>
0:40
1:10
SOLO
mst
Vln.
0:30
1:00 1:00
0:20
+.
,
senza trem
ord.
+
ggg OO
gg OO >
gg
msp
pizz
msp
flaut
II
III
mst
1:50
mst
.
.
+
II
mst
ord.
III
P
(I)
msp
ggg O +
ggg OO >
g S
p
O ,
ggg OO
gO
-gg O
mst
p
+ O
.. ggg O
gg O
-g O
F
II
+
O
0:10
&
2:00
2:00
2:10
2:10
SOLO
+.
mst
Vla.
Vlc.
msp
sul III
2:00
ord.
2:20
flaut
Vln.
&
msp
Vla.
B
f
II
Vlc.
ecras
ord.
.
+
P
ord.
ecras
oscil irreg
.
+
flaut
mst
2:30
>
2:40
msp
flaut
2:30
2:40
2:30
p
msp
ecras
+ f
flaut
I (oscil)
ord.
+ f
2:50
pizz
ecras
2:50
msp
2:50
trem. ord.
mst
flaut
.
.
mst
ord.
2:40
lento
msp
ecras
2:50
mst
ord.
2:50
2:40
ecras
ecras
2:30
ord.
2:20
0:50
2:40
ecras
flaut
O OO O
trem. ord.
mst
>
(ord)
ecras
ord.
0:40
2:30
2:20
O O
f
2:20
2:10
msp
f>
ecras
2:10
ecras irreg.
( cortado )
2:20
2:10
2:00
2:00
0:30
0:20
msp
cl.punta
.
+
ecras
ecras
molto oscil
flaut
oscil irreg
flaut
6'
ca.
Julio
2014
-
Aguascalientes,
Ags.