Let me introduce to you Juan María Solare; born in Buenos Aires, Argentina, now located in Bremen, Germany. He is a pianist (with an academic degree and hundreds of concerts on his shoulders) and a composer; most of his compositions are for piano solo or at least includes include piano. However, he has written for nearly any existing line-up, including chamber music, electronic music, orchestra and choir.
Tell us something about your track Siesta Norteña!
Siesta Norteña (translated; Northern Nap) is a simple, minimalist dreamy piano piece, only three minutes long. “Simple” means here that it has a single central idea without contrasting, secondary idea, and that it isn’t multi-layered.
It was conceived after a siesta (nap) and therefore in a state of semi- somnambulism, which also means that your self-censorship is close to zero. I can strongly recommend you to compose (also) in such states: you play and write down anything that comes to your hands, uncensored. You can say to yourself: “if it is rubbish, I can always destroy it later”. However, later you might notice that with a few tweaks here or there the original idea wasn’t that bad. Your starting idea was usable – with or without modifications (and possibly with further development). So your faculty of intuition receives the message “they are listening to me”. And therefore your intuition, your imagination, develops and gets stronger. If you do NOT write down such apparently silly ideas, your intuition receives the message “what I deliver is unimportant, they don’t take me seriously”. In other words, if you wonder how to have a stronger intuition, you have to begin trusting in it through writing down whatever it dictates you.
Will this song be a part of a bigger release?
Siesta Norteña (Northern Nap) is the first of the six-piece cycle Himmelsrichtungen (Cardinal Points). Why six? The cardinal points are four, but I added two (Cenit and Nadir), which define a third dimension (Cenit: above, Nadir: below). The two added pieces also symbolize the generalization and the overcoming of the system (of any system).
Each of the six pieces is dedicated to Ulrike Dehning and her five sons and daughters: Maria, Christian, Johannes, Juliane, Friederike and Ulrike herself.