FRANCISCO FERRO
 

“The struggle itself toward the heights is enough to fill a
man's heart. One must imagine Sisyphus happy.”
— Albert Camus

  Sisyphus is often seen as an allegory for the workman’s absurd and hopeless labor, thus illustrating resignation, enslavement. One can imagine Sisyphus watching the stone rush down the mountain, before “going back down with a heavy yet measured step toward the torment of which he will never know the end”. At that moment he knows the whole extent of his wretched condition, which according to Camus makes him superior to his fate, “stronger than his rock”. The artist, free and consequently radically different from this workman, has nevertheless a common point with Sisyphus: for both of them the procedure is as important as the outcome. By the thorough treatment of details with a constant conscious of the form, by the necessity of backtracking after every step, the daily sonic sculpting of a musical piece is after all intrinsically similar to Sisyphus’ tragic fate. Although there is nothing programmatic about this work, its form yet evokes the cyclical aspect of the myth. I approached this ensemble as an homogeneous block
constituting one single instrument, considering timbre and texture as important elements of the musical structure.

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— Francisco Ferro