María Parra

The Ethic of dreams

The Ethic of dreams

14/11/2014 - Disco RÊVERIE VR-2156 Texto: David Rodríguez Cerdán

According to an inspiration postulated by Borges as a literary genre, there are at least three types of dream: those yearned for during a vigil and which take the form of an elusive happiness, those we contrive when sleeping and which Joseph Addison thought transfigure us in drama, public and theatre and, ultimately, those related to fantasy and in whose invention children are the masters. If all have something in common, beyond the lightweight and aqueous matter comprising them, it is their metaphysical convergence in the French image entitling this album. So dream must not be confused with reverie nor reverie with dream, as such negligence would elevate to the poetic level a voluble drift of the mind which persists in its biochemical inertia; far from that, reverie is projective and does not infatuate the mind with fraudulent marvels, but rather tends toward the materialisation of a longing. It would seem as improbable that the composers María Parra invited to appear on this disc of dreams – and which death and myth have by the way converted into the dream of others – should take account of this argument in launching their thoughts with an andantino sognando, for example, as that the legions of virtuosos who have preceded her in this office of fantasisers, should entrust the quality of that argument to their fingering. Her superiority in facing this infinitely performed repertoire does not lie in mere mechanical skill or the aesthetic absorption of a particular musical cartography, but rather in the science which precisely obliterates that ‘facing’ – that is the distance from the object – and which has sublimated, not just wearing out the world’s little bit of black and white, but living without distorting the smile or submitting to the ephemeral temptation of the elusive dream. So it is not surprising that María should proclaim music to be life relieved of all burden or which, on the basis of wishing, has become in her words used to wishing for the impossible – or not wishing for anything at all – so that being and dreaming – or rather reverie – become one and the same. Here then, none of what critics or musicology define as ‘interpretation’ or ‘reading’, but rather what at any rate the ontologists call pure being. Thus the true art of María Parra or, to express it better, her gift to the world with this, her first disc, is not – the speciality of so many false dreamlovers – to convert us into (fainthearted) dreamers, like Fridolin in Schnitzler’s Traumnovelle, but to allow us to hear a reverie – hers – which is also, in turn, a form of ethic.