Trinity

“The work is inspired by the texts of the Hindu-Catalan philosopher Raimon Panikkar and his trinitarian and cosmotheandric vision of Reality (Cosmos, Theos, Andros: World, God, Man). It refers to a concept that combines elements of the cosmos, the divine, and humanity. Man is understood as a trinitarian mystery, and the Trinity is not solely a Christian concept but affects reality itself, which is trinitarian. According to Panikkar, the reality we live in consists of a divine dimension, another cosmic one, and another human one. Only by embracing these values can there be genuine democracy among men, fostering a respect for each other that elevates us. Reality understood in its totality represents the complete Trinity.

The three soloists traverse these three dimensions as avatars of a video game, experiencing the different realities while also embodying a new meta-reality (virtual) that seeks to unify these dimensions into one. The game, as an activity that best defines human creativity, allows us to delve into the most intuitive part of the human being to discover the Trinity that shapes us. The work is divided into three movements, each focusing on one of these realities. The first movement transports us to the mysticism and ecstasy of the Divine, characterized by minimalist cells and harmonies that create a liturgical and ethereal world. It is inspired by the Gregorian chant ‘Vidi aquam’ and the Hindu mantra ‘Om Vam Varunaya Namah,’ paying homage to Panikkar's dual origins. The second movement takes us to a cosmic vision of reality, with nostalgic echoes and resonances inspired by Beethoven's Triple Concerto. The third movement, the virtuosic Rondo, is wild, earthly, and frenetic, ritualizing human obsession in a world that is increasingly moving away from the necessary dimensions to achieve the Trinity. The entire movement is based on a repetitive chromatic 3-note motif, symbolizing the human pursuit of the trinity. It finally culminates in a grand final celebration.
Performers are asked to use techniques typical of my sound imagery, such as effects and harmonies inspired by the technological world, and above all, the ‘Cyber singing’ technique, where performers use their own mobile phones to play audio files, thus defining a new possibility of interaction between performer and composer beyond the score. Two audio files are required to be played during the work: the first is a programmed electronic sound that imitates water waves, and the second, ‘Singing Comet 67P,’ refers to recorded sounds from the Comet 67P using the Rosetta spacecraft magnetometer instrument, resulting in a strange clicking noise that changes in pitch and tempo, reminiscent of an unknown radio voice from beyond.”