Music within Objectivity and Subjectivity. Works by Leo Brouwer, Atanas Ourkouzounov and Gerard Drozd.

Music, like any language, is subjective from its composition, interpretation, and reception. When the composer writes his ideas, he has a direct communication objective with the public, either by his vision or by a specific commission. It is essential to mention that the interpretation that the composer makes of his works may have an internal message, which corresponds to his creation’s original idea. There are recordings and videos with this characteristic, and they are a primary source of consultation for all interpreters. However, in most versions of any work, the emotion and knowledge of the interpreter intervene. The performer is initially with a personal vision in his interpretation. This can be the opposite of that of the composer without knowing it. This occurs because music produces a series of intrinsic emotions when we are in the learning process. Many of these versions first become references for many interpreters of several generations, usually without knowing the composer’s idea. Likewise, in each version, some different ideas and visions will surely expand the composer’s thoughts. In short, the composer’s concept is objective when he wants to communicate something, and it becomes subjective when each musician translates it according to his vision. Work can be conceptually broad when it is worked with the composer and the interpreter simultaneously, thus becoming a primary source of outstanding contribution for the following concert performers who interpret it. It is essential to highlight that when this exchange occurs between composer and interpreter, there is mutual feedback that will always favor the work’s realization because each one is contributing concepts in many ways. All this work between composer and interpreter will reach a heterogeneous public, and that will also correspond to their own emotions. This public’s reaction will also be subjective due to multiple social and cultural factors of the moment and the place where it is located. Although the composer wants something sad in his music, the interpreter touches it very expressively. It may not mean sad for someone in the audience who feels it even much more intense and dramatic. So, the original idea is objective by wanting to communicate something. Still, it becomes the interpreter’s vision, and finally, it is indecipherable as it will reach the public. Implicit in this idea of ​​the message’s subjectivity is the repertoire of ancient music, for example. Each of the interpretive elements arises from a general idea based on the time’s treatises, which can also coincide or oppose each other. Unfortunately, we do not have recordings of old works made simultaneously. Any interpretive decision will be based on the written concepts made later. Finally, in my own experience, I have had the opportunity to work with many composers. The experience has been magnificent. They have objectively indicated to me the idea and technique used in their work. Later, I interpret it looking for the most remarkable effectiveness.
I have had the opportunity to premiere many works for solo guitar, cello, guitar, guitar and orchestra, cello, guitar, and orchestra. The three examples that I want to share in this post belong to three great composers, Leo Brouwer from Cuba, Atanas Ourkouzounov from Bulgaria, and Gerard Drozd from Poland. The first work, called Lorquianas, is inspired by two poems by the Spanish poet Federico Garcia Lorca. Represents traditional Cuban music and remembrance of popular Spanish music, taking as an example the great Spanish composer Manuel de Falla. The second work is called Rhodope, Song, and Dance and represents the Bulgarian song and dance tradition. These two works were dedicated to us, the Duo Villa-Lobos. The third work was written as uncertain to this pandemic time that we are living. The work is written for solo guitar and is called Rhetorical Question. I want to share these three works because they worked with each composer, and in each interpretation, the message objectively. A subjective idea is not found directly between composers and performers. However, the subjectivity of the public will always be present.

Lorquianas, by Leo Brouwer. For Cello and Guitar. Performed and dedicated to the Duo Villa-Lobos. World premier with the presence of the composer.

Rhodope, Song and Dance, by Atanas Ourkouzounov. For Cello and Guitar. Performed and dedicated to the Duo Villa-Lobos. World premier.

Pregunta Retorica Op. 206, by Gerard Drozd. For Guitar. World Premier. Performed by Edwin Guevara.