Latin American Electroacoustic Music Collection

Alejandro Iglesias-Rossi, Ascension : Las Tierras Nuevas, 1998

Recording time: 10 min 34 s.
Instruments: For solo tape

Other resources available:
- About Alejandro Iglesias-Rossi
- Compositions by Alejandro Iglesias-Rossi

About this composition:

"Now I saw a new heaven and a new earth,
for the first heaven and the first earth had passed away.
Also there was no more sea.
Then I, John, saw the holy city, New Jerusalem,
coming down out of heaven from God,
prepared as a bride adorned for her husband.
And I heard a loud voice from heaven saying,
Behold, the tabernacle of God is with men, and He will dwell with them, and they shall be His people.
God Himself will be with them and be their God.
And God will wipe away every tear from their eyes; there shall be no more death, nor sorrow, nor crying.
There shall be no more pain, for the former things have passed away."
Book of Revelation 21, 1-4

According to the judeo-christian tradition the whole Bible is an architecture pointed towards the arrival of the new earth and the new sky (Isaiah 65-17, 66-22, Revelation 21), the day on which our exile will come to an end and all the holy promises will become true.
For the mystical tradition, as beings who inhabitate this strange place and time, we can help to construct that moment, we can make it come sooner or delay its arrival depending on whether or not we engage the "eye" of our hearts to love "bearing all things, believing all things, enduring all things" (I Corinthians 13).
Moreover, says the inner biblical tradition, we can catch glimpses of how that time will be like, in whatever human work that has been done with true sacredness and "agapé" (the "burning" biblical love).
That much awaited moment is also found (told, with different words) throughout the autochthonous cultures of the Americas.
"Ascensión (Las Tierras Nuevas)" _"Ascencion (The New Earths)"_ has been composed using samplings of sacred european music from the 11th to the 16th centuries, recordings of indigenous orchestras and singers from South America, as well as ethnic instruments from Kollasuyu (ancient South of the Inka Empire) _sikus (panflute), erke (horn), moxeño (traverse flute) and quena (straight flute)_ played by the composer.
This work is, therefore, also an hommage to those musics that have given me the privilege to taste, even if shortly, how that moment will be; and I sincerely believe that they already belong to the time in which there will be "no more sorrow, nor crying, . . . no more pain".