"Plegarias" for Bassoon and Electroacoustics - Mario Lavista (Mexico) *English Version.
Hi everyone! We continue on this musical trip and now reached our next stop Mexico. Today Easter is beginning and I came across this solemn piece "Plegarias" for Bassoon and Electroacoustic, by the Mexican composer Mario Lavista.
Arriving in Mexico City and in contrast to the noise of the city of 8 million inhabitants, I found this piece which the composer mentions that “It must be played in a temple or sacred place”; It is a totally enigmatic, sumptuous, and demanding music for the interpreter since it uses extended multiphonic, and quarter-tone techniques.
The piece begins with a call of tubular bells that resound in space and time, this call prepares us to listen to the representative theme of the bassoon in this piece, a short phrase in the high register that begins with too much subtlety and slowly throughout the entire music undergoes modifications with the help of electroacoustics, using multiphonics in a subtle way.
After developing this idea, the principal theme appears in the middle register of the bassoon, it begins with the same structure as at the beginning, but this time the soloist's voice is the electroacoustic one that develops a song for several voices with the sounds that remain in the space, the bassoon begins to develop and accompany the electroacoustic theme with a totally new melody, personally, this moment of the work seems sublime and captivating.
The bassoon develops the idea in a low register and it tells us the discourse of the story, electroacoustics plays like a kind of mirror on the theme of the bassoon, at one point these two voices mix and another new atmosphere is created in the piece.
These three moments of the piece are concluded presenting the themes little by little, also with the last theme we can hear a bassoon voice multiplied by the electroacoustics, and little by little its intensity decreases until it remains in the environment, its end seems endless musical spectra in the air, which will remain resounding in your ear even after reaching the end of the recording.
Coming to a conclusion, it is exquisite music that hypnotizes you, and it is a great representation of the main idea of the composition of Mario Lavista, in the book ¨The Language of the Musician¨ Sr. Lavista manifests his work in the diversity of voices that feed the discourse of his music, with changing findings of the music, thus allowing an astonishment and perplexity of the feelings that arise when listening to the works, particularly in ¨Plegarias¨ a close conversation between the music can be felt in the musical discourse acoustics and electronics.
In the same way, I want to praise the work of Ms. Holdaway, it´s impressive how she uses the extended technique in this work with such subtlety and precision, achieving a totally expressive interpretation in her phrases. The piece ¨Plegarias¨ was premiered in 2009 during the first concert of the ¨Visión Sonoras¨ festival, in which the Onix Ensemble and the bassoonist Wendy Holdaway participate.
Mario Lavista
Sr. Lavista was born in Mexico City in 1943. He studied composition with Carlos Chavéz and Hector Quintanar, in 1967 he received a scholarship from France to study with Jean-Etienne Marie at the Schola Cantorum, he attended courses by Henry Posseur and in 1969 he studied with Karlheinz Stockhausen at the Reininsche Musikshule in Cologne.
He has done graphic-musical works with the painter Arnaldo Coen and has composed music for various films. Sr. Lavista won the "Tomás Luis Victoria Award" in 2013, the highest award awarded by the General Society of Authors and Editors of Spain to musicians from Spain and Latin America.
The work of the composer Mario Lavista is so extensive that this is a small summary of his career, being described as one of the most eminent composers from Latin America.
Wendy Holdaway
Thank you very much for joining me on this musical trip to Mexico. I hope you enjoyed it and see you next week in Canada! 
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