Culture is a moral embellishment. Art is a form of vanity with prestige. Playing Bach every day doesn’t redeem the treacherous lover.
The letters from an ill-fated love affair are proof that romantic love is narcissistic; they are the map and the route towards a mirror that returns the image of a beautiful body, of a triumphant and proud pain. But true beauty only appears after failure and abandonment.
Out of brute force — by wrestling with the instrument — the harpsichord recital eventually emerges. One becomes a musician only when one has been defeated by the music itself.
The function of melancholy is to preserve tenderness. David began playing the harpsichord for her, he plays those pieces every day. This music is the flowers on the grave of that love.
David Fernández’s journey through dance, theatre and music began in 1995 in Madrid collaborating with Robert Lepage, La Ribot, Angelica Liddell, La Fura dels Baus, Calixto Bieito, Misha Maisky, Jordi Savall, Olga Mesa, Juan Dominguez and StegreifORCHESTER of Berlin among others.
In 2005 he created his own company with which he has produced 16 pieces that have been presented at festivals and theatres in many countries. He currently resides in Germany, where he has created his own musical label, focusing on composition and playing cello with his group Ecce cello, with which he has recorded three albums. Technology, classical music, as well as a provocative and visceral physical language, are fundamental elements in his work.