Rafael Mar

Suíte's "intro" and first part of a "diptic" comprising the next piece, to which it serves a theme.

Variations over the previous theme. Has a strong influence of Manouche Music Culture, particularly the slow form, tempoless, wich are derived from oriental music forms.

Triptic form, with a central portion surrounded by an "intro" and an "outro". This piece is inspired on my teenage years, spent at a beach named "Quilombo" - after the escaped slave's community place there.

Based on a "Coco" form, and ancient brazilian music style of african origins. The rythmic pattern sounds "broken" on purpose, not respecting the strict 2/4, very caribean rumba like, in order to fit the inspiration to the song's tittle.

The end of an era, plenty of hope, wishes, freedom

In classic greek theater tragedy, "Estásimo" is a choir section in between two acts, always with a moral content. Musically, this particular piece is strongly influenced by Sepharadic Music.

"Sehensucht" is a Sonata form preceeded by two preludes. Spiegelnraum is the first prelude, and refers to a "hall of mirrors" where each chord is a "deformation" of one's own same self image.

Second prelude, after the "last mirror" (previous piece) swallows the observer, he finds himself on a flight over a landscape which ends up being his innerself, where he ends up landing at the end, into a devastated village.

"Ária" is a slow crawling, such as Dante's Hell, watching other people's destiny, just here it is one watching his owns.

The realization of "what happened" To oneself. Deep sensation of a helpless tragic event.

A short "calm" after a storm as a regain of hope, but quickly upset by a return to a reality which end up coming to an acceptance of a monstruous version of oneself - the same first chord of the piece, but now "deformed" by the lived experiences.

Written in a strict flamenco music form known as "Silencio", it speaks about the large "silence" - over 10 years I didn't compose anything, until this small fragment was born.