On April 23 (2011) in Grenoble it will be possible to hear the first performance of the version without video, as the prelude to the concert by the Ensemble Orchestral Contemporain; on May 12 at the Opéra de Lyon, during the “Année du Mexique en France”, the first performance of the complete version will be given, with Candida Felici on piano and Yi-Ping Yang on percussion, and Max Bruckert, from GRAME, as sound engineer. The video was made by Danio Catanuto. For the preparation of the electro-acoustic part, commissioned by the GRAME and the Sistema Nacional de Creadores de Arte in Mexico, the composer undertook different artistic residences at the studios of GRAME between January and March 2011. The concert will be preceded by a talk held by the composer in the foyer of the Lyon opera. Torres Maldonado tells us: «The emotional perspective generated by memories is probably one of the factors that, to some extent, bring about our present. Each of our perceptions provokes sensations which we react to in different ways, and some of them are eventually transformed into images or concepts that remain distant and abstract with respect to the original experiences that generated them. Among my childhood memories there are some that are inevitably linked to music. When I was 10-12 my parents took me on several trips into the jungles of Quintana Roo, in the south of the Yucatan Peninsula, the region where I was born. On the way back I always tried to travel in the back part of the car, to watch the sunset, with the sky enflamed with very bright and brilliant colours. The explosion of those images stirred my imagination to the point that I associated those celestial landscapes with hypothetical musical architectures deriving from chromatic scales. These mental projections gave rise, in my imagination, to actual refractions that consisted of a constant movement of “threads of sound”, as if they were real luminous and musical skies projected simultaneously in my mind. It took me many years to consider these ideas more than just a pleasant memory, innocent and typical of childhood, resulting from a multidimensional way, I might say, of conceiving music. In reality, this multidimensionality is not only reflected in the work but also in the time of its realization, it regards dialogues and the interactions between composer and the performers, between man and machine (composer and technological means), at the level of writing and the conception of the complementary spaces between the acoustic instruments, the electro-acoustic system and the video, between composer and visual artist, between composer and musical assistant (Max Bruckert from GRAME, Lyon), as well as the essential, virtual, fantastic interaction, set in a further imaginary space: the dialogue with my childhood memories.