For a composer, to meet a player committed with contemporary creation is always a pleasure. In the case of Julián Elvira, this commitment is focused in a multidimensional space: Firstly, we can find the musician that develops his instrument in order to overtake the known limits; Secondly, we can see the researcher that is focusing his PhD in the physics, acoustics and organological features of this new instrument; and lastly, we can discover the flutist/creator that always looks for the honest and authentic meaning of the “avant-garde” word.
Luckily, my previous engineering background was the driver to meet Julián, and after this first contact, collaboration with him arose in order to study the timbre and the acoustics possibilities of Pronomos Flute. For sure, this is being a complex but very satisfactory activity, since it allows me to do a systematic and serious work of a new instrument.
After this scientific approach, the opportunity to compose music for this instrument is highly stimulating for me: a new and almost infinite sound world has to be dealt with, and obviously it must be appropriately projected into the temporal dimension. Working with an avant-garde artist that plays an avant-garde instrument implies also an additional self-demanding level, thus forcing me to do a continuous and constant self-reflection about the essence of time and the way to parametrize it, or saying it in other words, about the essence of music.
“The end of the certainties”, for Pronomos Flute and Electronics, is an inquiry on the complex world of non-equilibrium and the irreversible phenomena. Starting from the temporal conception of Ilya Prigogina and his study of non-equilibrium thermodynamics, different characteristics material of Pronomos Flute are evolving and interacting between each other so as to unpredictability, instability and permanent changes leads the listener to the sound universe of this new instrument.
“The end of the certainties” has been dedicated to Julián Elvira, creator of the Pronomos Flute.