Serialism, Intertextuality, Cryptology and some Lines of Flight: Jorge Horst’s herético furor (1998, revised in 2001)

Abstract

herético furor (1998, revised in 2001), for alto flute, bass clarinet, violin, cello and piano, is one of the most studied, renowned and performed compositions by Jorge Horst (Rosario, 1963). Hence, the homage to Filippo/Giordano Bruno, connoted form the title, along with the concomitant establishment of F, Bb and G as writing axes, the different instances of repetition, the morphological ambiguities, the preeminence of diverse types of sound production, and a tandem between certain Nonian reminiscences and the presence of the all-interval row frequently associated with Il canto sospeso (1955-56) are some of the features established for herético furor. Nonetheless, given the all-interval row fulfills several purposes, while its becoming in and relationship with multiple contents implies further intricacies, we delve in the rhizome that makes up some of the serial, intertextual and cryptic traits of the composition. In other words, shed light on herético furor from its serial attributes enables lines of flight that leads us to propose the notion of implicit intertextuality and, thus, to also expand the competence of musical cryptography, mainly representations and homage, to reach the sphere of cryptology as standpoint and modus operandi.