Laying the networks of the subjective to capture in musical notes the essence of a geography, has been a recurring practice within the history of music. Seen in a universal perspective, the present proposal of Simone Iannarelli, Retratos de Colima, fits within this long tradition. Nonetheless, rather than delving into similarities and making comparisons with other works, it is necessary to highlight the particularities of this creation in order to reveal his enormous contribution. Iannarelli eludes any sonic reference element which provides artificial links or mechanic connections to geography. He resigns to use folklore so that he preserves his own language in the narrative of the work. The author does not seek to adjust his composition to current trends, nor does he leave it to a common practice of cliché or as a souvenir for tourists. He establishes a dialogue between everyday life of being colimote and its surroundings; Examples of it are the profession Escalada y Lamento (Historia minima de un Tubero), the circumstance of the past in Danza en la tumba de tiro, its wildlife, which sometimes is urban, La Iguana se Fúe, the wild nature in Nieve en fuego fundida. In this sense, the title of Portraits could not have been more opportune, from this perspective Iannarelli opens the window to the memory and falls into a reverie about Colima, his Colima. It allows the listener to form his own collection of snapshots, which cenrtainly are portraits seeking to capture the ineffableness of Un Atardecer or the impression that strikes in the spectator the Primeras luces de Buenavista. What is more, the transmission of knowledge is embedded in cyclical time, manifested in the iconography of Dos Perritos abrazados bailan. The former pupil and teacher, both converged meaningfully on this ritual as a performer and author. This encounter has as a result the integral recording of the work leaded by Ramón Andrade Virgen. This sound record shows a careful work of interpretation by Andrade, as he deeply understands each piece, he provides a neat and pertinent performance. He sets, therefore, a necessary testimony on the creation of Iannarelli. Unpretentiously, Iannarelli, depicts a sincere work that provides sound representation to this territory. It leaves an imperishable musical testimony similar to the objects on which it is based and it gives renewal face to the millennial process that has been risen in these lands. The subtle melodies here reflected will be mixed with the harmony of nature, when the long-awaited west wind blows and tells us that our ephemeral passage through this land has come to an end. Hirepan Solorio Farfán Salamanca, Mexico. March 2017
