I wrote Ecce Homo in 1989 for a tenor colleague of mine from Buenos Aires. The piece never premiered as my colleague and I, both youthful dreamers then, and without any power to turn our projects into reality, didn’t manage to gather the necessary elements that were needed for its making. Years passed and my artistic career headed in different directions. Ecce Homo, just like many other of my pieces, remained relegated to the back of a drawer. In 2016, I rediscovered it and realised, with joy —and pride— that, instead of having spent all these years simply gathering dust, the piece had matured, much like a good wine. Undoubtedly, a lot has to do with how I spent the last 30 years maturing as a man, and as an artist, something which has allowed me to revise the oratorio with an authority which would have been unthinkable in 1989.
I chose not to fall into the triumphalist rhetoric of writing a great Hosanna in order to express the music of the Resurrection. I preferred reflecting the “Easter of Easters”, the cornerstone of the catholic faith, from the subtle and unexpected change of the darkness of the verses “Quando corpus morietur”, to the luminous and inspiring harmony of the words “Paradisi Gloria”, sung by children’s choir at the end of the piece, before the Amen.