Notes for the premiere program, within the Concert-Tribute to Carmelo Bernaola on his 70th anniversary
My warmest congratulations go ahead to Carmelo Bernaola on his 70th anniversary, as well as my most sincere congratulations to the San Sebastián Musical Fortnight on having had the happy idea of celebrating it with a tribute-concert made up of works composed by his pupils, Among those I have the honor to be. And since, among other things, I learned from his lessons that music would be meaningless if it weren't loaded with references, what better way to participate in this act than with a work in which they met from procedures learned from the master, recognizable only from a technical point of view, to formal aspects and external gestures, in which Bernaola's personality and figure were much more directly appreciable? Pasodoppio wants to bring all of this together in a short composition that lasts just over five minutes. From the exclusive role of the clarinet (1) to the choice of title (2), through the rigor in the use of interval material (3), Pasodoppio does not intend anything other than to serve in the most endearing and least transcendent way possible to this tribute (4), as fair as it is deserved, that the San Sebastian Musical Fortnight pays to Carmelo Bernaola (5).
Notes: (1) Pasodoppio is practically a concerto movement for solo clarinet and "symbolic" orchestra, represented only by a cello. (2) I don't think anyone ignores Bernaola's predilection for the pasodoble; his name in Italian is nothing more than a nod to the affection we share towards a language, a country and a culture that is especially dear and known to us. (3) What has helped me to evoke, during the time that its composition has lasted and not without a certain nostalgia, especially pleasant moments from the time of its apprenticeship in the Granada and Santiago de Compostela summer courses. (4) Like when the pasodoble, which arrives and disappears like a blast, changes its castizo 2/4 for a more than Basque 5/8. (5) The concert took place on August 27, 1999 in the Multipurpose Hall of the Kursaal Theater in San Sebastián, with clarinettist Íñigo Alonso and cellist Natalie Rozario.