|Genre Categories||; ; ;|
|Alternative. Title||DifferAnce for two violins|
|I-Catalogue NumberI-Cat. No.||IST 14|
|Year/Date of CompositionY/D of Comp.||2016|
|Average DurationAvg. Duration||12 minutes|
|Composer Time PeriodComp. Period||Modern|
DifferAnce for two violins by Salvador Torré (note to hand-program) The Derridian limit is obliquely placed in space, a word (a sound) that does not refer to a disposition but to a tension, a dissymmetry. Borders cannot be represented by a line or an edge: they are complex, pluralistic, mobile, heterogeneous and discontinuous boundaries which can be transformed, increased, decreased or multiplied. In this metaphorical space where words (sounds) carry, derive or derail, the differ(a)nce that produces chains in language, (in art) is unstoppable.
What happens when dissecting a string into sub-parts, is that the smaller the difference between two points, the greater the distance of the result, that happens with the harmonics of a string, the more they approach two points, the further it is the result, this could be a metaphor of love or affective life, but in the case of the strings this is real and totally measurable. The game between two violins is that all distances between the same violin and between the products of the two violins are very small, which makes that the sounds resulting are very far from the generating source. Musically the interval results are remote, also this happens in the rhythmic aspect caused by the speed at which each instrument moves, again the differences are very small resulting in a continuous rhythmic skidding, pitches, intervals and speeds mirroring continuously in these three musical universes, in addition, being that both violins are of the same nature, the listener also “derive or derails “ in a minimum and maximum splitting by differences in each plane of listening, making “chains impossible to stop”. S.T.