Consonancias y Redobles

Composed in 1973, Consonancias y Redobles for guitar and electronics represents at best two different aspects permeating Azio Corghi’s poetics and creative path: from one side, even if Corghi refuses any stylistic dogmatism, his music borrows with both hands linguistic elements from the avant-garde scene of the time and put them on the score, experimenting and discovering himself new possibilities related to what he defines “sound-symbol relationship”.

On the other side, he keeps alive a strong connection with the past history of music, in terms of disseminating throughout his scores traces of cultural archetypes shared with the audience, something that started as an almost unconscious process during the first years of his compositional activity, but then became a conscious device, as in Consonancias y Redobles. Here the declared reference is the Spanish Renaissance music of Luis Milán, as we can read from the introduction to Corghi’s score:

“the form and method of performances of Consonancias y Redobles are derived from the indications which Luys Milan wrote as a preface to his Fantasias for Vihuela in the book entitled “El Maestro”: “Las consonancias a espacio y los redobles apriesa” (the harmonies slowly and the ornate passages quickly). Fragments taken from Fantasia XVI of Book I determine the sound events and the performer’s attitude to them. The CONSONANCIAS form “fixed” elements like dispersing blocks of sound energy, the REDOBLES create “mobile” zones formed by point of sound articulated in space”.