Hymne

When at the end of May 2023, the María Canals piano Competition, offered me to compose and write a new piano work for it to be performed by the young pianists who would participate in the competition the following year, It seemed the most appropriate thing to write a piece that was a hymn to Life and Hope. And what's better than an anthem? An anthem that would show the strength and vitality of youth united with the will and hope to endure and rise above what is happening in the world, from the horrific pandemic recently suffered to the terrible wars that surround us. It is therefore a Hymn to Life and Hope. Etymologically the word Hymn comes from Greek and is considered “a song of praise” generally dedicated to the gods. It is, therefore, a song of joy and hope and praise and good wishes... This musical form developed in ancient times since the Greeks with Homer and later in Christian culture and music, of which we know great pieces. From the Hymns of Kassia, for example, one of the first women composers with written work, Byzantine, born in 810 AD. C., to whom we owe some beautiful Hymns that are still performed in the Orthodox Church; even to the Hymns that exist in contemporary music, such as those of Britten, and passing through the romantic ones, such as Mendelsshon. The delivery had to be in early or mid-September, so I dedicated myself this summer (between premieres already planned of other works of mine), to compose the musical partiture that develops from a main theme, which , as is usually the case in hymns, including those of Gregorian chant, is repeated throughout the minutes that the piece lasts, with the occasional countertheme. I have not wanted to rigidly mark metronomes, I have only indicated the tempo in general terms of expression and movement, since I consider that, as musicians, the performers will know how to give it the most appropriate point of view and metronomic perspective from their perspective and the momento and its uniqueness. H Y M N Well, I advocate that the freedom of the interpreter should be generally respected, although in my work I maintain my criteria when interpreting it... and I can give my opinion if they ask me, of course... Beyond the most conventional and strict criteria on interpretation, I always consider that we must keep alive that margin of freedom that the sincere and true musician knows how to find in the musical partitures, going in depth, beyond the written notes, which is always insufficient. Just as I consider it necessary to open musical partitures and music in general to moments of creative freedom, as small nuances that are the result of the moment, (it can be a different use of the pedal, a doubling to the octave or in thirds or sixths, a changed octave..., a freer dynamic..., a common occurrence in classical music until the 19th century... and in the 20th century, and which was common in composers such as Albéniz or Mompou in their live interpretations) sometimes caused by the acoustics of the room, by the receptivity of the audience and/or by the mood of the performer, different on each occasion. This Hymn is therefore my wish that the dreams of these young pianists come true and at the same time that Peace and Joy reign in the world and in all lives. This piece form part of a collection of pieces was recorded for the prestigious NEOS music label in Munich, Germany, under the title Hymns to the Hope.