by Mauricio Annunziata

It could never say that I write music because I do not have something more interesting than to do, since when dedicating me to computer science, of productive, and mainly in these times... there is much! What happens is that to write music, for me, it is an irreplaceable necessity that nor the pianística interpretation can overwhelm it. Only sometimes, when some program for computer comes out to me well, profit to equal that emotion (we do not forget that music is not only emotion, and computer science, is not only code).

I could not be been thankful more... contemplating the inheritance that we have received from the greatest composers of the past (I consider to Beethoven the highest musical expression, which they follow other grandísimos geniuses like Bach, Mozart, Liszt and Albéniz, not to mention more) and the legacy of the greatest pianistas of which we have concrete references through sonorous documents (Horowitz, Rachmaninoff, Nenna). This already gives a great force me to write and to interpret. We know that these great teachers put to most important of the components of music, the aesthetic one, always in the first place, something that, naturally, is not taught nor is learned, but that is inherited of the divine thing. For this reason never I lose the time with contemporary music, great insult for which, like Prokofiev, they did not sleep when they considered that a single note of its scores could be outside place.

Beethoven Said: «music is one more a revelation higher than science and the philosophy», and is why he respected so much and it considered it thus. Later, it followed Strawinsky affirming that «music is a serious thing, more serious of whatever is possible one to be imagined». And that that the author of the Consecration of the Spring was enough cold... The answer always comes to the memory that gave Horowitz when they asked what piensaba to him on contemporary music. Schönberg answered «does not say anything to me, and enconsecuencia, I do not interpret it - and continues but that does not mean that other pianistas do not have to touch to Schönberg, is plus many pianistas, would have to touch only Schönberg». This phrase seems to me very ilustrativa to explain porqué contemporary music is only for the musicians who go down of mediocre for, since it is not art nor science, only a ridiculous whim of that does not manage to say nothing new «that it can please».

We are living a stage on great confusion and little musical taste, which forces us to the composers of a medium dose of gray matter for above doing something to reconquer that quality that, decidedly, is had lost. How it is possible to be come to do ésto. It would be possible to be begun to avoid that black spot of infertile experimentation that darkened the minds of the composers of half of Century XX and to retake the time in which still music with taste and feeling was written, to continue with that way of perfect balance between reason and emotion.

What is what it inspires me to compose?. Just like what it inspires me to interpret: the sound of the instrument. I know to touch only the piano, but the sound of the other instruments (added to its technique) inspires the composition to me. In my case, the sound comes before, for example, the geographic region makes specific that music wants to evoke. My favourite instrument is the piano, of which I was all the life very enamored. This one they follow violoncello to him, the violin, the contrabass and from there, all the others.

Why I was interested so much in Argentine music? More than because I am a true Argentinean, because it captivates to me. I discovered it late. I knew music the greatest composers and when enamoring to me with the piano, my admiration by Liszt took to me - through impressive the Rapsodias Hungarian that always it interprets ' - to know the roots of that so sublime music, and thus it was as I knew folclore Hungarian. Later I began to notice that all the countries did not have to Liszt but nationalistic schools. I studied all, until I arrived at the one from my country and it seemed to me fragmented, incomplete and, coverall, totally unknown, incomparable with the one of an European country. But, however, it seemed to me very promising, indeed by its variety and wealth and the little well-known thing. It is why today, I have overturned all my musical efforts in the composition, interpretation, diffusion and love towards Argentine music.

The cultured music by Argentine roots is written by few composers who, each one at their time, had and have a greater inclination towards folclore rural with respect to the urban one, today known world-wide like tango. Nevertheless and, leaving of side cultured music, this last folclore of the city of Buenos Aires has eclipsado totally to the rustic one, of the towns and the heights, which creates a great imbalance for the Argentine musical patrimony. I have heard say several times that the tango, by more vanguardista than can get to be, is too trivial for the intellectuals and too much falsified for the popular surroundings. I hope, that in my production, this difference vanishes. That my music is Argentine, yes, but... first they are the emotion and the feeling. If we want to create art, we do not have to never leave them of side...

Mauricio Annunziata

Barcelona, october 2002