For a long time I have tried to promote in my work a state of “integration” between the semantic and the phonetic – music as text and text as music, perhaps because of the multiple craft that characterizes my artistic activity, divided between the performer, the performer, the composer and the poet.
Approaching this prodigious text has been on the horizon for a long time, not only for what it says and for its timelessness – and as such topicality, but also because it projected a growing complicity of ideals and research with Fernando Mora Ramos, therefore the will of a creative partnership between Teatro da Rainha and Miso Music Portugal.
From the musical point of view, “Discurso sobre o filho-da-puta” offers us an almost musical score, due to the characteristics with sound properties of Alberto Pimenta's poetic writing, and therefore contains, from the outset, the elements conducive to a distribution by several voices, of a character simultaneously one and multiple.
On the other hand, it is ritual and ironically conforms to practices common to classical music concerts, both due to the exacerbated protocol and the symbolic load, but also due to the rigor and purification of the gesture, of the poetic gesture turned into a musical gesture.
The “Discurso” thus welcomes a quartet of actors, as if it were a quartet of musicians, a quartet of vocal cords, because, to give voice to a choral discourse in which the word becomes music and is organized into timbres, rhythms, harmonies, melodies; sometimes in unison, or in homophony, or in heterophony, or in polyphony, or in counterpoint.
Thus, more than being music added to Alberto Pimenta's poetic text, the music at issue here is above all the recognition and unveiling of the music that the text already contains, making it heard in different ways, making it heard again; and assuming the word in its full vocality; and the spoken voice in its extraordinary possibilities of multiple, sonorous and expressive emission.