Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes.
In Acuerdos por Diferencia I have attempted to draw a musical parallel with a similar sort of speculation. So many of the gestures and rhythmic objects in the music commence or finish on a point of accord (Acuerdo), from which their flow continues or emerges. A great deal of variation, differentiation, juxtaposition and superimposition (Diferencia) between computer and harp takes place between those points, their appearances being also subjected to quick "edits" and variations in speed. Thus my title can be freely translated as "accords within difference".
I have used mostly harp, lute and vihuela sounds for the computer part, which was realised and recorded at the studios of the Music Department at The City University.
The Park Lane Group commissioned this piece for Hugh Webb with funds provided by GLA.