2nd. part -Suite VII by Roberto Victorio

Let’s continue with Roberto Victorio talking about his Suite VII, work for classical guitar.

(TP) Roberto, before we go to the next movement of the Suite VII, Circles, I would like to discuss Exosarabanda, following the idea of ​​names that are orbiting around the suite-genre.

The prefix Exo comes in order to involve something? could a sarabande be there, in essence, but always keeping this with some discretion? is it the same idea of ​​Hiper (hyper)?

(RV) The meaning of "Exo" is applied in Astronomy to bodies that are beyond perceptual possibilities, those exist however only by mathematical data and they’re not visible.

In this case, ExoSarabanda is an approximation of the Sarabande genre, or even more, to its visible structure, which has a new structural body, but with parameters that, paradoxically, distance itself from expectation of established form of the past.

In the case of HiperLudio is almost the same, but the first intention – that covers all this part – is the complexification of information from an overture piece that makes part of a grand form and it must contain the fundamental and atomized data that will give life to the macro level of the suite.

(TP) Circles is located within a certain aleatoricism – it is still controlled by the pitch of notes, but with a writing that allows a rhythmic suggestion.

(RV) Exactly. It is the nerve centre of the work and that has totally built from modules / instantaneous gestures that appear as flashes and will compose this central part of the work, with the two previous pieces and new information that will be used in such veiled way, during the work. A writing that sets parameters for varied executions by its volatility: whether in the settings of the modules or in the diversity of the impulses of each gesture or spaces variability that will be created each performance – always with the information, creating a unity with the data already heard before, and the novelties of each information that comes up, tied to the past gestures, so metamorphosed.

(TP) I have also noticed that - still on a suite-genre - there is a motivic link between the five movements and also a consistency of contrasts of tempos (quiet, fluent, vigorous, solemn and alive).

In Final, cells reappear from Hiperprelúdio.

(RV) As I said before, the data / flashes / gestures are taken in Final - sometimes as "in natura" state - to promote a new sound reality that has had the primary purpose to give aggregation of information as a resumption of the material and in order to create a sonorous corps - moreover, the final natural impulse must be with necessary "punch" for that - bringing in its scope a clear intention: sound and notational aims, from a unique body, one dismembered into five great macro-sonorous arches that have sustained themselves by the unity and, paradoxically, by the information’s diversity that are transmuting themselves.

Some of the gestures in Suite VII

HiperPreludio

EspirAllemande

Círculos (Circles)

ExoSarabanda

Final