'Insula Unpublished' arrives to the Cave of the Greens of the hand, among others, of the flutist Carmen Ojeda, whose international trajectory, has offered concerts as soloist, ensemble and orchestras in Spain, Holland, Germany, England, Romania, Bulgaria, Jordan and the Arab EmiratesIt is unstoppable. It has been the main flute of the Amman Symphony Orchestra, and has collaborated with the Gijón Symphony Orchestra, the Gran Canaria Philharmonic Orchestra, the Tenerife Symphony Orchestra, the Las Palmas Symphony Orchestra and the Atlantic Orchestra. She has also been a professor of flute and chamber music at the National Conservatory of Music of Jordan and the Conservatory of Music of the Canary Islands. She is currently a flute teacher at the Professional Conservatory of Music of Las Palmas de Gran Canaria. In its commitment to education of new music since childhood, has taught workshops for children of sound experimentation, electronic music and soundpainting at the Professional Conservatory of Music of Las Palmas de Gran Canaria, Kids-play, FabricaFest and the Lanzarote Visual Music Festival.
Carmen Ojeda talks with us about her latest project, 'Ínsula Inédita'.
What is Ínsula Unpublished?
'Ínsula Inédita' is a joint project of OIMOS producciones and Carmen Ojeda, in which, new works of young Canarian composers they give voice to the Cave of the Greens through the flute, as a metaphor of the space itself, and the electronic.
What do you propose to the viewer?
Canarias is a region of traditions but evolving. Today, on the islands, we have avant-garde composers and interpreters with very interesting lines of work and research. We believe that it is important to share this evolution with its inhabitants and visitors. For this reason the Ínsula Inédita project proposes an approach to contemporary musical creation born in the Canary Islands.
What does it mean to stage this show in a place like Cueva de los Verdes?
The Cave of the Greens is a magical place, and submerging in its entrails modifies the state of being and consciousness of anyone who transits it. The composite works for this project generate, from a sensorial point of view, habitable sound spaces where the listener can be accommodated, or uncomfortable, in listening. The same happens in those who visit the cave. There are in whom feelings of tranquility are awakened and in others, anxiety, or bewilderment. In addition, the different environments, textures, sounds and sounds that make up the pieces are loaded with a wide visual content that emerges in the imagination of each listener through its own production of images. The fusion of the unpublished Ínsula music with the space of the cave provokes in the spectator an internal game of different sensations and images.
– Can the scenario transform the final result?
-Interpreting the works of this project in La Cueva de los Verdes will never be the same as interpreting them in another place because the scenario of the Cave is unique. It is a great motivation and pleasure to act on it.
– Have they been composed thinking about this space?
-All the pieces that make up the previously unbroken Ínsula have been composed for the concert on February 16 at Cueva de los Verdes. All are unpublished works that will be released that day. The music of Carlos González, Víctor Barceló, Luis Ortiz and mine is perfectly adapted to the Cave for the sound aesthetic that we follow. We work with textures and sound environments that could be translated into the abstract voice of the Cave.
The show is composed of new works by Carlos González, Víctor Barceló, Luis Ortiz and yours, how do they interweave?
All works have as their starting point the flute and the sound exploration of its less conventional resources. With it, the most concrete textures of Luis Ortiz's soundscapes and the abstract environments of the works of Carlos, Víctor or mine are intertwined.
In addition to these components, the works have in common the space for which they have been composed.
In your case, what is your contribution in the set?
The flute is the bond of union between all the pieces. All the composers have designed their works thinking that they will be performed in the Cueva de los Verdes with me to the flute. My work, in this case, will be one more in the set, but I will give a personal contribution to each piece since they are open to improvisation in the flute part.
My contribution with this proposal, from a socio-cultural point of view, is to raise awareness of new aspects of the flute, to promote the creation of a new repertoire for solo and electronic flute, to encourage experimental musical creation on the islands, to promote listening to Contemporary music among our public and to introduce young composers from the Canary Islands.
When talking about the work, it is explained that the result is the result of the evolution of thought, art and technology, in what way is it possible to capture that?
Music in the last 100 years has evolved a lot. The simple concept of what music is and what is not, what is sound and what is noise, what sound material is valid and what is not. Everyday sounds are incorporated into the compositions, different sonorities are searched for traditional instruments, electronic music appears and there is an important change in thought and the rest of the arts. All those historical changes come to us, that as artists, we have to contemplate and study to define our artistic path.
In the case of all the composers who have worked on this project, we follow a similar trajectory of sound exploration, technology research and new media in music and free improvisation.
The pieces are not composed in a traditional way where harmony, melody and rhythm are established. They are based on the exploration of sound, acoustic and electronic, creating an interlaced dance of textures and sound micro universes.