Lamento di Nadima
By Diego Saenz Mateo and Alejandro Fenollosa Beltran
Ghent Royal Conservatory
These pieces were written as compulsory work for the finale of MA competition 2021.
Lamento di Nadima is the lament of a Jezidi mother who was forced by her family after years of IS captivity, to leave her 3‑year-old — born out of rape — in an orphanage. A new hell.
In the first part, percussion and soloist sound as two apart entities. After that, both parts become denser and the percussion functions as an alternative basso continuo. It’s rhythmical structure is derived from Monteverdi’s Lamento della Ninfa. The percussive energy — stable and capricious at the same time — in combination with the variety of colors symbolize the inner dynamic of grief and pain. These various colors in both instruments make them melt together in an unexpected way.
By using bowed percussion, Heleen Van Haegenborgh searched for homogeneity. The bowed vibraphone communicates clearly with the melodic character of the saxophone. This in contradiction with the first part where both instruments stand completely opposite to each other and percussion is not more than a primitive accompaniment with the oldest percussion instrument: a simple drum.
* Based on Brenda Stoter Boscolo‘s book The Forgotten People, the Yezidi’s Account of the Last Genocide. Chapter 9.
Tom De Cock
Ursina Maria Braun, shared 2nd place
Hojin Kwon (public prize and 2nd prize) and Tom De Cock
Alejandro Fennollosa and Diego Saenz Mateo
Hojin Kwon (public price, 2nd prize) and Tom De Cock