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Isola for chamber ensemble departs from a rich material for each individual instrument which I have been gathering for a period of about three years, but here put in motion in a formal way which orients itself to what could be considered a hermeneutical interpretation of material. One in which each singular part (ideally) reflect the whole, and in which each singular part has the ability (or this was rather the aim) to transform or become any other part of the piece. The relationship between temporalities (the moment/newness and the constructed form) is pushed towards a non-linear consideration. The final proposition of its evolution in time, I propose, is the one which the forces of sound established by their “own” accord, but in reality, the parts could easily have been placed in a completely different order.
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