NERUDA

PGE with Hila Zamir

Neruda combines extremes of a spectrum: unbearable grief and contagious joy; Caribbean and Brazilian rhythms (salsa, merengue, baiao, samba), expressed with a contemporary, modern language, and jazz-infused harmonies. I had three movements to portray Neruda’s poem “A dog has died” and it was lovely.

I

The worst of grief: looking at him only as a memory. Neruda mourns: “My dog has died. I buried him beside the rusty old engine.” Nostalgic airs, intimate harmonies, lyrical moments. A ‘Caribbean passacaglia’ in the middle – a ground bass in syncopated, melodious tumbadora rhythm, and an uplifting canon of tumbao patterns between the clarinet and the pianist’s right hand.

II

That which is not said, and yet is felt about losing someone. “I will not speak of my sadness here on Earth after not having my companion anymore.” Serene character, pensive harmonies, a lamenting melody. A brief quote of saudade in homage to Francisco Céspedes’ song “Tú, por qué?” later on.

III

An arch within a rondo, “joyful, joyful, joyful, like only dogs know how to be happy.” Samba: the refrain is in unison with the tambourim. A dog in a car, windows down; angular melodies with driving grooves. Fast. The breeze still tickles his tongue, driving around the fresh, young beaches of memory.