Program Notes

Between April and June, I had the incredible opportunity to participate in a residency at Civitella Ranieri, a 15th Century castle transformed into an artist foundation in the picturesque region of Umbria, Italy. During my time there, I had the privilege of meeting G. Mend-Ooyo, a remarkable Mongolian poet and calligrapher who deeply fascinated me. Born and raised by a nomadic herding family in the vast Mongolian steppe, his work has been translated into forty languages, a testament to its universal appeal.

Curious to witness his artistic process, I asked Mend-Ooyo to share his work with me. He graciously invited me to his studio, where I was mesmerized by the bold gestures, lyricism, and intricate details of his calligraphy. During a subsequent afternoon, he surprised me with two exquisite calligraphies, skillfully executed in black, red, and pencil on a backdrop of yellow and gold paper. One bore the Mongolian symbol for music, while the other showcased symbols of fire and water. Intrigued by his creative approach, I inquired, "How do you create such incredible calligraphies?" His response struck me deeply: "Meditation, meditation, meditation...for a very long time…then calligraphy with very quick gestures." I found this method profoundly poetic.

Shortly thereafter, renowned flutist Claire Chase arrived at the castle to collaborate on my piece Parábolas na Caverna and perform a solo concert. Grateful for the enriching experiences, I decided to express my gratitude by composing a small piece for them both. I embarked on an imaginative journey, meditating on the general character of a solo bass flute work throughout an entire evening. Upon awakening, I promptly transcribed my creative thoughts in less than 30 minutes, capturing the essence of my musical vision.

In shaping the composition, I took inspiration from the letters of G. Mend-Ooyo's name, which served as the starting point for the pitch material: G (sol), Me (E flat, from solfège), D (re), and Do (C). Additionally, I employed the vowel sounds from his name to modulate the flute whenever singing and playing simultaneously were required (Oo-y-o). This intimate connection with Mend-Ooyo's artistic essence allowed me to infuse the piece with a unique and profound significance, serving as a sincere tribute to the extraordinary experiences shared at Civitella Ranieri.

— Felipe Lara