Campos-Fonseca's La Creación sin Mañana, live from San José, Costa Rica.
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Irreverence Group Music [IGM] proudly presents the live recording of Campos—Fonseca’s La Creación sin Mañana, marking its second performance.
Originally commissioned in 2021 by Alejandro Gutiérrez—Mena, principal conductor of the University of Costa Rica Symphony Orchestra (OSUCR), and harpsichordist María Clara Vargas—Cullell, La Creación sin Mañana was composed for harpsichord with a Noise Machine (soloist), two trumpets, four horns, piano, string orchestra, and percussion ensemble. Conceived in the midst of the COVID-19 pandemic, the work premiered at the National Theater of Costa Rica on August 9, 2021, and was later published in Campos—Fonseca’s album La Venganza del Agua [IGM, 2022].
Photo by Ricardo Cambronero
"The very struggle toward the heights is enough to fill a heart."
—Albert Camus, The Myth of Sisyphus (1942)
by Susan Campos—Fonseca
In 2021, Alejandro Gutiérrez—Mena, principal conductor of the University of Costa Rica Symphony Orchestra (OSUCR), and harpsichordist María Clara Vargas—Cullell commissioned me to compose a work for harpsichord and orchestra. The score for La Creación sin Mañana, written for harpsichord with a Noise Machine (soloist), two trumpets, four horns, piano, string orchestra, and percussion ensemble, was conceived in the midst of the COVID-19 pandemic. It premiered at the National Theater of Costa Rica on August 9, 2021, and was later published in my album La Venganza del Agua IGM, 2022. At that time, I wrote:
"To contemplate loops of shadow and impermanence—that is my goal. The piece is composed of ten modules, each a loop capable of interweaving with the others, regardless of the order in which they are performed. The graphic notation of the sonic matrices that form these modules is based on the works of minimalist painter Agnes Martin (1912–2004). The orchestration draws from Henryk Mikołaj Górecki, Morton Feldman, Pauline Oliveros, and Eliane Radigue, reflecting on the residual sounds of the tonal regime, whose memory lingers in the technology of the harpsichord and the ‘well-tempered system.’ Consequently, the work's DNA includes the ‘unmeasured’ preludes and sarabandes of Élisabeth Jacquet de La Guerre (1665–1729). To deconstruct these remnants, the soloist’s improvisations are combined with a Noise Machine [manufactured by DLP Electronics Bolivia/Argentina] and free transcriptions of NASA’s sonification of data obtained from the magnetosphere. The piece’s aesthetic can be placed within instrumental musique concrète and post-minimalism. Its purpose is to weave a collective ‘sonic meditation’ that contemplates, serenely, what Albert Camus understood as ‘the creation without tomorrow.’”