Entiendo

“I tried to characterise the different parts of ENTIENDO using the right tools and creating a theme that was appropriate to the situation each time. For example, the pressing rhythm of the preparation in Valparaíso, given by the South American percussion, recalls that excitement of when you are about to start something you have wanted for a long time. In the middle part, it is a continuous encounter between piano and strings, between motorcyclists and the environment. The piano’s jumping motion is reminiscent of engine pistons, an almost mechanical movement that is softly nuanced. For the ambience, I chose a full orchestra of strings because of the impressive sound and because the orchestra is made up of many elements, just like nature and the environment we see. In the Religious Missions part, sweetness prevails, which is why I chose a light piano as an instrument, which tells without pushing too hard. As the images became more intense I picked up the pace, because I thought about the enormous amount of joy they could have brought inside these places. And movement, when harmonious, is always happiness.

The bows change roles in the final part when the team is trying to cross the border into Peru. The bows go up and the looks become more dramatic, and more thoughtful, just like them. I was particularly struck by the gaze of the motorcyclist still wearing his helmet and balaclava, whose eyes are only visible: he hardly blinks, and they are thoughtful eyes. Shortly afterwards a sharp plan enters, referring to the phone call, to the attempt not to throw in the towel. Events continue their course and the rhythm stops, the percussion stops and only the long-note strings remain, suspended. In the final part, there are still the fixed notes of those who no longer have a chance to move. But there is also an impressive final agreement, the sum of all the experiences the team has had on this mission.”