Moisés Patricio Sánchez did not want to give more importance to the celebration, very few weeks ago, of his 40th birthday. He preferred to make it coincide with the release of his new album, There’s always madness, an appeal to madness as a powerful creative engine. But he also feels, in his own way, in crisis. Not with the age itself, but with these troubled times that we have had to live. “I guess it’s a widespread perception among my generation. We come from the analog era and I, at least, did not agree well with the lowering of the effort threshold or the lack of empathy towards others. These are aspects that concern me as a human being. And my music, even being instrumental, has some reaction against all that. ”

Sánchez, pianist of the neighborhood of Sales and signer of a bulky work (“I guess I’m already a man with baggage”, he smiles), always on horseback between jazz, contemporary music and even progressive rock, demands the listener good more scarce and unusual than we can claim in this feverish world: time. Pursue that whoever decides to blow the tooth to one of his discs dedicates his good 50 minutes of concentrated, specific listening. In the classroom, if possible; and without the mobile or any other trick at your fingertips.

Is it too much to ask? “In a world where videos cannot exceed 59 seconds, I suspect they can,” he sighs. “I respect who gets to enjoy that, but I refuse to subscribe. My music is a deep plea, it is complex on purpose. Because music – like literature, painting or cinema – does not allow you to accelerate time. Just as nobody would see a movie skipping fragments, I propose to my listeners an active listening in which they cannot skip a cut to get to the next one sooner ”.

Sánchez is like this: intense, torrential. Things to take sitting at the piano since three years (read well: three) and embark on his first tour as a professional musician at 17. The pianist came to study Computer Engineering, just in case, but suspects he would be “deeply unhappy” if now I had to come to the end of the month stumbling between computers. “The call I feel from music is too strong,” he proclaims. In addition, he always enjoyed family support at all costs. “When I enrolled in college, my father asked me, alarmed:‘ You won’t leave the piano, right? ’ It happened to me unlike most musicians: the usual thing is that at home they fear your artistic vein and beg you to also study something would… ”

In his case, that the piano was going very seriously began to be clear, we said, from an early age. And Moses has been considering almost since then the dilemma of whether it is good for a child to get involved in such a way in an activity so sacrificed, before even learning to read and write. “To play was from the beginning an obligation that I could not skip,” he recalls, “and that ends up being a very big psychological effort. On the eighth of EGB, with 13 or 14 years, I arrived from school at five in the afternoon and knew that I had to sit at the piano, unavoidably, from five fifteen to eight. Conflicts, especially with my father, were inevitable: looks, anger, gestures … But no process is perfect, and today I am eternally grateful to my parents. ”

Along the way, what a remedy, other facets were left behind. Sanchez was a skilled soccer player, although remembering it produces an intense modesty. He came to play at the age of 18 in the Preferred category with the Toledo de Mejorada del Campo, but trips at the expense of music forced him to immediately hang up his boots. And it has no offspring, a difficult decision but “fully aware.” “He has not given me time to be a father. My partner has a daughter, but I have not been channeled in that direction, ”he said sincerely.

With music, however, he has made a lifetime commitment. And of overwhelming dimensions. In addition to his half-dozen jobs in his own name, he is contemplated by very brave adaptations of Bach or Spring consecration (Stravinsky), countless collaborations in other people’s albums and the production of very diverse, even unexpected works: from the Andalusian song of Valderrama (Ragweed) to Still travel, from the Alicante rapper Nach. “Eclecticism is necessary. I don’t have red lines for musical genres, but towards those messages I don’t believe in, ”he argued. “That’s why I couldn’t work with reggaeton, because I don’t like his lyrics. And neither, in general, with any artist in which the visual over the auditory prime. I love music; video clips or clothes give me more equal… ”

In these four days at the Café Central (until Sunday 2), a scenario that has been frequent for four years, he has preferred to focus almost exclusively on that new elepe with which he decided to blow his first 40 candles. Its own title (translated: “We will always have the madness”) already constitutes a whole declaration of principles. And a good argument to end the talk with our passionate interlocutor. “The human being was always fascinated and terrified by madness: indifference is impossible. Madness has led to the most heinous moments of humanity, but also some wonderful idea. Look The garden of delights, from El Bosco: how could anyone look at the world with such clairvoyance around the year 1500? And concludes: “The crazy creativity is almost an emergency exit, a reaction to the times we live.” Those same as Moisés P. Sánchez, and who doesn’t, are so confused.

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