'Anaconda' could be labelled a 'naturalistic' work. The very beginning represents the location: jungle, unfamiliar, exotic, moist, exuberant and very importantly, claustrophobic (this last is maintained throughout the piece). It is here that we get our first glimpse of the Anaconda, who, very soon embarks upon his song, which is not unlike a requiem, but at times, this song or narrative, is interrupted by the sound of the Anaconda itself and by its environment. It is very much like moving between 1st and 2nd person.

In the second part, the environment is disrupted. Foreign sounds and activities invade our location. The jungle moves, everything is in motion, fear and flight take over. But, suddenly, we realize that there is a certain gracefulness in all this motion, that the flight is but a retreat, a, withdrawal into itself, nature and eternal life, with the certainty of a return.
The rebirth. Like the Phoenix, the Anaconda is reborn, as myth, and as the reality of wisdom. A reflective and poised character, strengthened by the experience, the Anaconda reasserts itself, its place in relation to the environment, and its place in relation to us, the spectators, and at times participants of its story. (Michael Rosas Cobian)

Technical Backgrounds

HW / SW: Mac SE 30, Performer

Michael Rosas Cobian (ARG), born 1953, studied and worked professionally throughout the American continent and was involved in 'fusion music' Since 1982 he has devoted himself to composition full-time. He now lives and works in London. In addition to composing orchestral, chamber and electroacoustic music, he has been involved in composing music for experimental films, dance and theatre.