Program Notes

Injust Intonations marks my return to composing for solo piano after fifteen years, during which my work has evolved to incorporate microtonal and non-tempered sonorities. Embracing just intonation, micro-intervallic ornamentations, microtonal permutations, and the translation of various sound samples, I explore sonic possibilities where the smallest unit surpasses the limitations of the conventional chromatic semitones found on the piano. One of the key challenges in this piece was to artfully approximate the fused and colorful sonorities associated with natural acoustic ratios while adapting them to the chromatic sound world, without sacrificing their resonant character.

The composition revolves around the center of gravity D4 (located at the keyboard's midpoint), symbolizing ultimate unity and agreement. However, this central pitch also acts as a mirror, reflecting all other notes and giving rise to less consonant sonic shadows. Throughout the piece, the music undulates in a wave-like and kaleidoscopic exploration of just intonation intervals and their distorted mirror images. These elements are superimposed symmetrically at various speeds, creating cloud-like polyphonic whirlwinds. The piano writing intentionally defies traditional idiomatic patterns, treating the instrument as a vast resonating chamber, and employing an orchestral approach.

Injust Intonations was composed for Conrad Tao and serves as a modest gesture in support of the #BlackLivesMatter movement. The impetus for this piece emerged shortly after the unjustified shootings of Terence Crutcher and Keith Lamont Scott, events that triggered nationwide unrest and inspired Colin Kaepernick's iconic refusal to stand during the American anthem.

— Felipe Lara