seems fundamental in art and in
particular music that is the concept of
transgression and it’s not a definition
a little capricious of transgression
without transgressing is breaking the rules
existing is to extend the modifications
but in this case I also want
add a component that has to do
with proposing new company rules with
a component of creativity too
is the region can operate in two
different axes of influence one
related to tradition with the
training that we have had with this what
that we have learned either way
self-taught or studied etcetera but
also the transaction can operate
about our environment
this one in which we live the time and the
place where we live
it is no longer about denying all of the above
if not I think it has to do with more
well appropriate those influences
resignify them and give them a new
sense
nobody invents this something out of nothing
excessive if we take as an example some
of the great ones of the great works of
the history of beethoven music
until it is stravinsky or daft punk sex
pistols whatever you want
any of those great works
transgressors for his time
this one has in a very very context
determined could not have arisen
ten years before this when
came up then I think there’s a
natural process in every artist to go
building their own language
usually the first works the
early works of artists
we can identify more
clearly what are your your
concerning what are the things that
influenced and little by little this there
as an intention to build
own style and own style not
it’s something else is just that this one
to stand out against you for years not
be transgress your environment and time
in which one lives in me
personal experience in music I think
which illustrates this well enough
I started in the nineties this
with a band called banana
hip hop male a band in which
our influences were very clearly
visible do not be from beastie boys house
of payne repression in this case is not
I tried to get away from that
surroundings be stylistic we do not
the fact we wanted to stay away from
reverse
it was more about deepening in
that style
that was our way of finding a
own language does not really
deepen and perfect those of another
later my life style comes under
background that also starts making a
project with a very stylistic framework
concrete this one easily from the
imitable basically approaching the
tango from the new trends of the
electronic music and little by little with
bajofondo through the years and disco
to disk we expanded our own
style be somehow we went
transgressing our own our
own rules are expanding our
own style and finally arrived by
example a my project is current that
it’s a much more piano project
with influences that do not have that much
see with my context in which I grew up
in the river of silver but also of
the influence of classical music and
able that one when you see this costs you
relate it to a male banana or
as a background but really for me there
a very clear thread in this and
that has to do with that I could not
be this music that I do today if
I would not have gone through all the above or
be really insisted on that concept
what it is about as a construction
and it ‘s a search that does not really
it never ends
[Music]
yes they recognize this melody life
[Music]
or
and
[Music]
etc
it sounds familiar that melody is a
melody
maybe they heard it because it was
they use dozens of movies millions
of prelude versions in my minor’s
chopin is part of our culture
musical
sometimes maybe this one not the region
effectively with your plan but listen
this next example to what you think
[Music]
plus the most
Tom Jobim never hid that he relied
in the prelude my chopin minor for
compose and good sense
but what does jobim do
appropriate that tradition
the suit of the city its own language
he appropriates that tradition as he said
and the view of his influences from his
Brazil’s environment let’s say its
influences that have more to do with
with its cultural context and really what
what he is doing is a new language
and then there is an anecdote
estelina counted for the jobim himself
in the late fifties this one
was inspired by a song that
appeared in a movie that
I called Europe, you did not get furor
in river as it said the end of the
fiftys and the good of that song of
enrique salvador
somehow he was inspired and thought of
the beginning of the Brazilian samba
dress him of his influences more
Sophisticated jazz and music
classic and a little
this is at the origin of bossa
not going
this song is the following
and that to his life
bye
[Music]
she
[Music]
well the reality is that nothing is so
linear
obviously in the turn they were this
expert this vinicius etcetera and
company
and this is surely a
element plus this rereading of
influences
the types had the sensitivity being
twenty – somethings to capture what it is that
was to come what was this
I was in the air
then let’s say things do not arise by
one thing but actually the guys
were the talent of at that time
realize what the new sling was
that does not mean anything other than
bossano there is an English artist who
they called so that I like a lot
what does this say the artists look like
they imitate the great artists steal tacha
the name of Picasso who is the author of
the phrase and appropriates that which closes
this is I think that despite everything
what I said before the fact that they are
more or less recognizable influences
what to expect a work not necessarily
means that it is not the result of
the work mature and with a lot of personality
many times it has more to do with
how that is reinterpreted
that was the inspiration and how it’s done
own I feel very lucky
privileged to have belonged and
it will stay under bottom because I think that
looking at some perspective after
of all these years we have come
making music by building a style
I think we have transformed ourselves from
somehow in an element
representative of the culture
River Plate of the last 15 years and
our challenge is still this one the
same principle is to follow
reinventing us to keep trying
expand our style and follow
transgressing ourselves
our region is not only fundamental
but it is necessary
I do not agree with with the
people who are automatically opposed to
the new ones this
Sheds of styles beyond
tastes god can be the tango the
candombe in rock or in techno what
be because the reality is that all
transgression
but not every tradition was ever
after injury
also and for a style to follow
saw is necessary
effectively that those people who cultivate
that tradition and that there is that sustenance
of the root because if not the styles
they are mutating and transforming into something else
and in the end they die but if it does not exist
at the same time those people who break the
rules and that expands the styles the
styles die with their exponents
originals then they become generous
From the past
I believe that this applies not only in
art but life in general we
all the time we are somehow
generating culture is we live in a
area of the world where we do not have
hundreds of years of tradition back
what makes our conformation of
identity is a very process
dynamic be all the time we are
generating the folklore of the future
somehow then I will quote
a phrase of my contemporary philosopher
preferred the way the reward
thanks master tabárez therefore not
be that phrase for me encloses this one
great truth we
the more dynamic that process is
to generate ideas generating this
transgression more chances we have of
reach places that can reach
transcend and decided to influence
those who come after us I believe
that goes around the thing is going to end
this talk by playing a small piece
that I wrote in homage to felisberto
Hernández is a fundamental writer of the
Uruguayan literature really unmarked
of his contemporaries with a style
staff is very powerful and one of the
features of his style had to do with
the fact that maybe not everyone
he knows he was a great pianist and
Hector Felix Hernandez
he worked a lot of time giving concerts
of piano he worked for a long time
playing piano for silent movies
then the tribute goes a little bit
that I do to him and perhaps in that piece
you can come to recognize this
my debussy influences for example
of charly garcía and even things of my
own style but I think the most
relevant to me the most important thing
I would be myself tomorrow
discover in the work of other artists
some strokes of this music
I think it’s a bit the idea that I want
convey thank you
[Applause]
[Music]
and
and
[Music]
the silver
do not
[Music]
after
[Music]
”
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