Se hace saber: French Horn & Percussion

Se hace saber cuts through the noise by literally staging communication itself. The piece moves from pure virtuosity (horn and marimba trading complex passages) into something more urgent: the horn player becomes a voice proclaiming syllables, while percussion and theatrical sound effects build an atmosphere of public announcement and social consequence. It's the kind of work that makes audiences sit forward, wondering what comes next.

Se hace saber begins as a dazzling technical dialogue between horn and marimba, with intricate rhythmic interplay and bright, assertive melodic figures. As the piece unfolds, it grows increasingly layered and urgent, with the horn's virtuosity giving way to declaratory speech syllables, while percussion and everyday sound objects (megaphone, siren, whistle, the rustle of newspaper) accumulate into a soundscape that feels both playful and deeply political. The overall effect is contemplative beneath its surface theatricality.

Advanced horn players comfortable with virtuosic writing, clear articulation, and the fusion of musical and theatrical roles. This work demands musicians who can shift fluidly between instrumental virtuosity and performative speech, and ensembles willing to embrace unconventional sonic materials as essential to the piece's meaning.

• Treat the scenic and sonic elements as equally important. When the horn transitions from melodic material to spoken syllables, the shift in character needs to be deliberate and clear; the audience should feel the change in function, not just hear a different note pattern.
• Balance the virtuoso passages between horn and marimba so neither instrument dominates. These sections require precise rhythmic coordination and clarity of articulation from both players.
• Coordinate closely with the percussionist on the use of non-traditional instruments (megaphone, siren, whistle, newspaper sounds). These aren't just sonic texture; they carry the piece's commentary. Rehearse the theatrical timing alongside the musical timing.

Program Se hace saber as a centerpiece for a concert exploring music and public discourse, or pair it with other contemporary works that blur the line between concert performance and social commentary. Its advanced technical demands and theatrical staging make it ideal for a modern classical or new music festival context, or as a concert finale that leaves audiences thinking about what they've witnessed.

• Rapid articulation and double-tonguing at variable tempos
• Coordination between instrumental and vocal (spoken syllables) production
• Dynamic control across extreme registers and technical passages
• Rhythmic precision in complex syncopated material shared with percussion
• Stage presence and dramatic interpretation beyond traditional concert performance