Johanna Rose & Diego Montes Duo

Gerardo Dirié (1958, Argentina):Noctuary (2017) for viola da gamba and bass clarinet.Johann Sebastian Bach (1685 –1750):Cánones Art of the fugue and The musical offeringHilda Paredes (1957, México):Estrofas del viento (2019)  for viola da gamba y clarinet. Charged by the Agencia Andaluza de Instituciones Culturales.Ramón Gorigoitía (1958, Chile):Viento Sur (2019) for viola da gamba and clarinet. All new compositions are especially dedicated to Diego Montes and Johanna Rose.Johanna Rose Viola da gambaDiego Montes Clarinet

A CHIMERIC DIALOGUE: VIOLA DA GAMBA AND CLARINET Like the dinosaur and the human being, the viola da gamba and the clarinet did not have the opportunity to coexist. When the clarinet was born, driven like the talisman of Mozart's last years, the viola da gamba languished, one step away from disappearing from the stage. It was necessary to wait until the middle of the last century to hear its sound again. Impregnated with unusually human echoes, the viola da gamba emerged with an unsuspected energy, impelled by a handful of prophets of historicism applied to ancient music.

But as we are allowed to contemplate the impossible coexistence of dinosaurs and humans, thanks to the hidden camera of cinema, also science fiction applied to music, allows us to enjoy the encounter in the same stage between the viola da gamba and the clarinet, with the entire satisfaction of the unforeseen. We are probably dealing with a unique case, before an unprecedented kind of instrumental staff: an absolute premiere not only of works, but also of format.Authors like Hilda Paredes (Tehuacán, Mexico), Gerardo Dirié (Córdoba, Argentina), and Ramón Gorigoitía (Valparaíso, Chile)responded to the unexpected call of the gambist Johanna Rose and the clarinetist Diego Montes. Their works, warm and throbbing as every new-born creature, are joined by a timeless hinge in the name of Bach with separate canons extracted from The Art of Fugue and The Musical Offering, adapted to the two instruments with complete timbral freedom, as established by Johann Sebastian Bach, supreme master of open instrumental combinatorial.Here, interpreters and authors promote this unusual dialogue between two unknown instruments, with the aim of releasing a new illusory and utopian format: a chimera meticulously crafted by authors of our time and by interpreters without prejudice; a mosaic of pieces from all possible worlds in a meeting that only fantasy can make feasible. Just like Augusto Monterroso, (Tegucigalpa, Guatemala), another teacher of the unpredictable, (Tegucigalpa, Guatemala) told us before, as he launched his famous imaginary time capsule: "When he woke up, the dinosaur was still there".Text: Manolo Ferrand in Seville, February 2019