Indicación de profilaxis antibiótica

Time Travel com prises four orchestral m ovem ents, c o m p o se d with the sym phonic form in mind althoush not actually term ed a symphony as such. T he title characterizes both time and travel as separate identities and as an overall c o n c ep t; the m ovem ents are linked together by motivic material and the first three lead tow ards m ovem ent 4 . This last

m ovem ent, Somewhere Unknown, is also perform able on its o w n .

T he first m ovem ent, Procession, is inspired by tw o quite different Spanish processions; the

introduction by the Procesidn de la Virgen de La Asuncion (Procession of the Virgin)

which takes place each year in the small Spanish tow n of Los A lcazares, and the main section by the famous Easter Sunday procession in Cartagena. A description of the processions is pro v id ed overleaf.

Summer Lake, the se c o n d m ovem ent, is a lyrical idyll representing a feeling of freedom in the summer as well as associations with M ahler and his summer com posing near lakes in

A ustria. Summer Lake is especially written for my husband, Ian, w h o is a great admirer of

M a h le rs work.

T he transitional and transient nature of the third m ovem ent, Dreams are not always

Nightmares, is less overtly related to the c o n c e p t of time and travel, but represents this through an imaginary journey of the mind. Dreams can b e nightmares; gritty details broken up with pleasant recollections and jum bled around, futures erratically b u t inaccurately foretold, unknow n territories and indecipherable responses. A lthough the m ovem ent is in the style of scherzo, it is really less of a joke and m ore a patchw ork pattern of superim posed but c o n n e c te d motifs, tense but forceful and sparse, with a m om entum that leads towards the rich orchestration of the concluding m ovem ent.

Somewhere Unknown, m ovem ent 4, is an unknown journey. T h e overall musical c o n c e p t is a b ro ad , continuously evolving musical landscape, intentionally rich in orchestral texture and tonality b u t with a bitter-sw eet harmonic language. T h e m ovem ent w as written during the tw o m onths following the death of my mother and is partly a direct emotional response to that p eriod b u t also aspires towards a m ore positive and optimistic future.

Liz Lane M ay 2 0 0 9

T he annual A u gust Procesion de la Virgen de La Asuncion is em otive and chaotic.

C ro w d s mill around the square and bar whilst a service takes place inside the central church (the Iglesia d e la A su n c io n ); meanwhile, bell-ringers gather in the church tow er. A s the anticipation heightens, so d o e s the noise of the crow d, becom ing a speculative silence just b e fo re the procession begins. T he church doors o p e n an d the statue of the V irgen is glim psed, held aloft by many m en. A t this m om ent, the great church bell is set ringing, swinging back and forth with an almighty rhythmic impulse. S oon after, trum pets fanfare the start of the procession and rockets are fired into the sky. Slowly the 7V irg en 7 processes from the church doors whilst elderly Spanish w om en, dressed in dark clothes accessorised by Spanish fans, cry with em otion. T he procession travels along the sea p ro m e n a d e for tw o hours until the float is taken by b o a t o u t to sea and finally back to the church.

CartagenaV Easter Sunday parade consists of a long and solem n procession comprising sets

of church groups — agrupaciones — each with colour-coordinated costum es and wearing

p o in te d h o o d s — capirotes — marching in identical fashion at a very slow s p e e d . T he order

of each agrupacione follows a similar pattern, starting with adults carrying silver staves of

varying sizes and occasionally children with bells. T he main b o d y of the procession is led

by three p e o p le holding the churchV standard — estandarte — aloft, follow ed by tw o

symmetrical lines of marchers w ho march with a finely d eco rated silver lantern — hachote —

on the e n d of a long pole. N ex t are the drummers and w ind b a n d , follow ed by m ore processors carrying long staffs in plain dress w h o p re c e d e the spectacular processional float, bearing an image of the Passion, which is often created by well-known Spanish artists. T he floats are d e c o ra te d with thousands of flowers and frequently carried by up to eighty men

or w om en, known as portapasos.

T he music, which consists of a limited num ber of marches, is rep e a te d throughout the tw o hour ev en t an d always remains at the same tem po, which governs the rhythmic momentum

of the procession. Every so often the parade stops, to give the portapasos a rest, but the

music continues with echoes of m ore than o n e b a n d at a time in juxtaposed synchronisation; sometim es it is possible to hear just the constant, slow, rhythmic m om entum of the percussion from different parts of the procession at the sam e time. O ccasionally, a rhythmic chant is shouted three times, with a chorus of Viva!7. A t the e n d

of the parade, infantry com panies — piquetes — escort the float of St. M ary and create a

m ore up-beat finale with precision gun twirling and elaborate marching.

Front cover photo: the statue of the Virgen d e la A scu nsion at sunset/ Los A lcazares, Murcia, Spain, 15* A ugust 2 0 0 7 .