Dedicated to two shining stars: Marin Alsop and Barbara Hannigan in deep gratitude for their trust and support.
January 1, 2020: I received one of the most fantastic emails ever: Marin Alsop was asking me if I would be interested in composing a piece for BSO, to be played in a concert commemorating the launch of the James Webb Space Telescope, a co-commission with BSO, The Space Telescope Science Institute, and NASA. On the program would be my new piece, and Mahler's 2nd Symphony. The concert would be about looking upward in every way: literally, figuratively, and spiritually.
I felt like I was flying, floating, and my head and heart took off with ideas of what I could do with the incredible sound machine of BSO. Well, the pandemic changed everything. The program with Mahler, and the telescope launch were both postponed. Plans changed, and I was still so happy to know that my piece would still be premiered, even though in a completely different context. I wanted to stick to the fascinating theme of looking upward, which gave me inspiration. I had already begun my research including taking a study course in astronomy. I already had collected quite a few books and was eager to discover more. And, I couldn't let go of Mahler. His music has inspired me since my youth until this day. And so I decided his presence needed to stay, somehow, in my piece.
Over the course of my research, I came across many poetic, scientific and historical texts. I was gathering images, real and fictional, actual and ancient, and I rediscovered the great story of Julio Cortazar, "Los limpiadores de estrellas" (The Star Cleaners), which became the main inspiration for the piece. In this story, the stars are close among humanity, in an amazing connection in which they communicate and play with light and darkness. The writer, Julio Cortazar has a beautiful humor and talent in going from the most banal object (a box full of metal star washers), to create the strongest poetic atmosphere, where everything can exist together:banality, comdey and joy, magicalmetaphors and even some political statements.
And so, this is a piece about stars, from the ones we can find, one afternoon, crushed on the street, to the ones in the sky. But this piece is also about the stars in my life: stars who inspire and accompany my creative path. Stars, wind, sky, firmament, stardust, reflection and luminosity, darkness, fire...and memory, yearning memory, Mahlerian memory.
The colors of the electronics and of the instruments
I am a composer, but also I am an improvisor, and I comefrom the world of electronics, which is a kind of "mother tongue" language for me which has its own sounds and textures.
In this piece, I use the human voice, specifically, the soprano voice of Barbara Hannigan who is singing, speaking and breathing, and also improvising. having been friends for some years, our cooperation on this piece began during the pandemic, which Barbara was working intensely on Mahler's 4th Symphony as both conductor and singer. We spoke many times about Mahler's idea of "Das Himmlische Leben", and Barbara sent me many recordings she made while she was practising the piece, as well as more abstract sounds and her breathing. Our exchanges lasted over months and then we ended up, in April 2021, at her house in Bretagne recording and improvising, finally together in person. We also went to the sea and recorded her voice with the wind and with the waves.
The inspiration of the electronics in Star Washers, is to bring the voice in as a "mysterious appearance", like a voice from an outer space with which we have not yet had contact. The voice is sometimes very present and sometimes hidden, perhaps a bit like the offstage band "da lontano" in Mahler's 2nd Symphony, as if it comes from another dimension. And perhaps a bit like the hidden choir which Gustav Holst uses in "The Planets".
For this reason, I chose to put the speakers out of sight of the audiences. My wish is to hide the speakers and all the machinery, so that the voice and electronics are a mysterious and hidden part of the universe.
As for the form of the piece, and the interplay of sound materials, I was inspired by the paintings of Pierre Soulages and his concept of Outrenoir, where the presence of the color Black is necessary in order to reflect light. Color is the "other" and perception of light creates chaos and order, as in nature.
Electronics in the concert hall? Think of it as a spark of invisible magic—something mechanical yet alive, opening up the symphonic sound, enriching it, or pushing back against it. Ilan Volkov brings together four composers who let two sound worlds clash and collide—or seamlessly blend.
Rave Little Belgium is a book (in the making) and a website tracing the history of electronic music in Belgium. As part of the Brussels Philharmonic LAB-SERIES, the orchestra invites founder and editor-in-chief Koen Galle — music journalist, DJ, label owner, radio host, vinyl collector, and electronic music enthusiast — to give a different lecture before each concert. In each session, he explores a unique aspect of Belgium’s rich electronic music heritage, accompanied by active listening moments.
With the LAB SERIES, the Brussels Philharmonic brings together musical experimentation, interaction, and total experience. Expect bold and eclectic concert nights with unique programmes, pre- and post-concert talks, interactive installations, and immersive listening sessions.
pure sonic mind-expansion: from dreamy soundscapes to raw noise and otherworldly symphonies — these are Castelló’s favourite tracks
