Product Description
The current pianistic postminimalism draws heavily from Ambient music, this is how it tries to build surfaces. We hear it in popular figures such as Max Richter, Hania Arani, Olafur Arnalds or Nils Frahm. In the Silencios Fatuos (2021) by Colombian composer Julián De La Chica, this search seems to find threads that weave with the phosphorescent and radioactive shadows left by the twentieth century, and to which we return when listening to the flashes of sonorities that refer us to Ryuichi Sakamoto or David Sylvian. In previous productions, such as the Preludes Op. 8, and his Voyeuristic Images Op. 10, De La Chica's pianism shows a constant exploration and research. The composer-pianist urges within the parameters of the "new simplicity", challenging himself in a kind of minimal eroticism.
In Silencios fatuos the artist gradually sheds his skins, confronting the very fatuity of postminimalism. And in this way, he seems to sprout abstaining from any violent rebellion, in a kind of superfluity, allowing the passage of time, building surfaces with curved lines that twist on themselves without noise, without groans, contemplating the absurd with an unsettling serenity.
Susan Campos-Fonseca, PhD
Musicologist & composer
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