Project

Cíclic is the title of Paula Rocosa’s most recent project, a recital that connects works conceptually around the idea of circularity. During the recital, a narration unfolds in parallel to the musical scene, built from textual quotations from the work La última frase by the writer Camila Cañeque and from reflections by the author of the show. The musical works evoke, from different angles, the ideas in Cañeque’s work about the unfinishable, the infinite and circularity.

Paula Rocosa carefully selects and performs a collection of piano works linked to the post-Impressionist style, capable of portraying reality and everyday experience by connecting them with the luminous, intimate nature of Joaquín Sorolla.

The relationship between literature and musical works, in which composition gives shape to its characters, runs through the narratives of all ages. In this recital, artistic interpretation takes form in an almost literal translation of literary fictions into sound. Debussy offers pointillist illustrations of settings, subjects and characters who live in his literary imagination, from dreamlike prints and imaginary landscapes to prototypes of the Commedia dell’arte. Schumann’s great skill in turning music into narrative carries over directly from Hoffmann’s pen a series of interwoven stories into the eight fantasies that make up the Kreisleriana for piano: a capricious and dramatic plot that combines two stories at once.

The early twentieth century was not only the cradle of the aesthetics that would develop over the following decades, but also a crossroads of creators in whose works a backward glance can be sensed, just before the irruption of a fierce avant-garde. This revaluation of memory, real or imagined, and the alchemical quest to distil from it an experience or a place into a score are the core of this recital, a timeless collection of different ways of treating this delicate creative substrate.