“I like being human, because the History in which I make myself with and alongside others, and in the making of which I participate, is not predetermined; it is a time of possibilities.” (Paulo Freire)
The long-awaited album Espelho Duplo – Double Mirror (Works for Piano Solo) has just been released to the public in December 2019. The album reflects a postmodern classical music dialogue between two compositional perspectives presented on the work by the award-winning Brazilian composer André Luiz Machado.
Being impressively interpreted by the astonishing Greek-British pianist and composer Manos Caharalabopoulos, the musical works on this album unveil a neo-impressionist and lyrical aspect that mirrors another very distinctive expressionist and geometrical side of the music, inciting new and infinite dialogue-perceptions within the individual listeners.
Each work on Espelho Duplo – Double Mirror is also accompanied by a graphic representation developed by the Brazilian illustrator and animator Guilherme Araújo, who created a visual counterpoint that reflects the essence of the written music from a visual artist’s point of view.
Listen to the album on Spotify, Deezer and Apple Music. A special physical format is also available at Amazon and other music stores.
Two recommended singles:
L’Enchantement des eaux quand its pleurant
It explores the stunning watery world and the symbolic elements that surround the shapes of water, in a “potent sense of ritual that emerges from the fusion of a neo-impressionist aesthetic and Brazilian rhythms
Poema Sonoro n. 1: Lembranças do Nascer do Sol ao Entardecer
A musical poem reflecting memories, impressions, while sitting by the ocean, getting lost in sea horizons, remembering the first light of the day when the sun is almost gone. Portraits, an evocation of life.
Espelho Duplo – Double Mirror
An insight by Estércio Marques Cunha (Brazilian composer) for the album.
One mirror, in front of another, reflects its own image infinitely. Similarly self-replicating is the dialogue-perception between musical work and audience, composer and interpreter.
At first light, a work already reflects its composer. It emerges through the reflection of the interpreter’s perceptions and ideas. These reflections are received by individual listeners, who play with them and contribute their own reflections on their signs and imagery.
Here is the beauty of this dialogue-perception: we are individuals and we offer ourselves “incomplete” – in both image and idea – to the “incompleteness” of other individuals.
This double mirror reflects cultural millennia (because no individual lives alone): it is time moulded and condensed by one perception, to incite and be interpreted by another, which is, in turn, launched into the space of a third perception. Thus the world becomes light reflected in multiple intelligences.