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"Delta", Peter Wessel Polyfonías Poetry Project

Join the project that has proved that poetry has the potential to be a language without borders, able to unite different languages and cultures. Our trio has recorded my last 16 *polyfonías* which we are now hoping to publish as a poetry book & CD. Your pledge is decisive and will be duly rewarded.

Peter Wessel

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Polyfonías Poetry Project has been underway for 10 years, the last five as a trio. In fact, it was on the occasion of the presentation concert of the CD-book Polyfonías, which I had recorded with the Danish-Argentinian guitarist and composer Mark Solborg, that the Spanish clarinettist Salvador Vidal joined the project.

A few weeks after the publication of Polyfonías, the introductory poem on the CD, “Un idioma sin fronteras” (a language without borders), won the second prize in the international arts contest 2008culturas.com which the Spanish Ministry of Culture had organized to celebrate the European Year of Intercultural Debate. Since then we have presented "Polyfonías” in eight European countries and performed at several major literature festivals, such as the Cuírt International Festival of Literature in Ireland, the Berlin Poesiefestival, Poetry on the Road in Bremen and Cph:Litt. in Denmark, in large part thanks to the collaboration of the Cervantes Institute.

Meanwhile – as I have progressed with my writing – we have added new polyphonic poems to our repertoire, and last year we took advantage of an invitation to perform at the Copenhagen Literature Festival to go into the Karmacrew Sound Studios to record the sixteen polyfonías that we have premiered as a trio. I felt that the time had come to give our audience a chance to acquire my poems as performed by the same trio that they were accustomed to see on stage.

It is this collection that I am now – with your inestimable support – trying to publish. Unless we reach the 6000€ goal for this Verkami crowdfunding campaign, the work will have to wait to be published (and no doubt in a different format) and you will not have the opportunity to obtain any of the rewards that we offer in return for your pledge. Of course we won’t charge your credit card either. In other words: It is essential that you make a pledge if you want this work to see the light of day.


It was in 2003 that I – on the spur of the moment and to my own surprise – wrote Un idioma sin fronteras, my first polyfonía. I had received an invitation to read some poems on Radio Exterior de España and – flattered and without giving it a second thought – I said yes. I had barely hung up when it struck me that they probably thought that I had written some poems in Spanish or at least had had some of my work translated into Spanish. After all, the aim of Radio Exterior de España was to promote and spread the Spanish language abroad and keep it alive among Spanish immigrants in non-Spanish-speaking environments.

Caught off-balance, I immediately set on the task of writing a poem in my host language, but when I finished the first stanza I had already used words and expressions from the three other cultures that a nomadic life had made me part of and that in turn had become part of me. My native Danish culture, the French culture of my childhood, first nest and offspring and, finally, the American culture of jazz, my lifelong musical affair.

Dentro de mí/viven cuatro personas, each/with their own voice,/su propia/lengua,/sa propre langue./Hver med sit eget sprog/og sin egen stemme.//No disputan: habla/quien ha de hablar,/the one who comes up with the best/and truest word/le mot juste….

Since the radio programme that had invited me – “Un idioma sin fronteras” – dealt with literary translinguism, I decided to pay homage to it and name my poem accordingly. This was to prove a premonitary choice: The discovery that polyfonías could serve as a proof that poetry fundamentally is “a language without frontiers” has since become the key to the development of my poetics.

My interest in orally transmitted poetry and my calling as a musician soon prompted me to start searching for musical improvisers in order to add their instrumental voices to my poetic voice.

In 2004 I contacted Mark Solborg – one of the most original and sensitive musicians on the Danish improvisatory scene – to ask him to help me develop the instrumental dimension of my, still nascent, polyphonic poetry project. That fall we had the good fortune to both earn grants to the Andalusian Fundación Valparaíso in Mojácar, where we spent a month working out and recording the first nine polyfonías.

After our Andalusian sessions Mark returned to Copenhagen, and for the next three years I recited in duo with the clarinettist Salvador Vidal from Valencia, home to some of Spain’s finest reed players. When the CD-book Polyfonías was published in 2008, Mark and I invited Salvador to join us for the presentation concert. The Peter Wessel Polyfonías Poetry Project had been born.


Our tours have convinced me that there are people with taste, sensibility and personal values who dare to seek other stimuli than raw, rational meaning when they listen to poetry. Who, instead of letting themselves be knocked off course when they hear a word they don’t understand, open their senses to the spoken word’s other qualities – first of all to the music and the associations to regions with other language- and lifepatterns than their own. It can be a great advantage to be able to create larger meanings from the polyphonic soundscape which we are confronted with in modern society where one’s own language runs the risk of being drowned out by other languages.

Although you may be a scattered group, I am sure that you are also a sizeable group of “polyfoníaphiles” who want to be sure to get yourself a copy of Delta. Luckily, today we are only a click from one another. We really do live in a global village where the physical distance is easily overcome. Polyfonías Poetry Project is poetry and music for people who have learnt to appreciate their own thoughts in their struggle through life.

This kind of discriminating people tend to meet in communities of interests rather than in housing communities: although they live worlds apart they live in the same world and will meet on the web or see each other at concerts, exhibitions, festivals etc. Delta will hardly be of interest to publishers whose main regard are the sales figures and rationalized distribution. It is neither rational nor economically advisable to try to reach 200 clients in the United States, another 200 in France, another 200 in Spain, and still another 200 in Denmark, etc. For you and for me, on the other hand, the dispersion is no problem: what is essential is that the diversity is preserved and that art and the individual creativity can survive in spite of the dictates of trends and fashion.

Crowdfunding guarantees the flow between the artist and his/her public. “Micro-sponsorship” – as this modern form of financing is sometimes called – is a fine example of what we might call direct democracy on the marketplace: what is produced is a product of a shared interest, something that means something to the community of interests and that they therefore decide to finance, not a product created by economic interests which the marketplace tries to convince us that we need.

In other words: By putting up money for what he or she wants to see produced instead of buying what the marketplace offers, the buyer has changed from the role of client to that of producer with the benefit of having a part in the goods produced.


Since we live in each our corner of Europe – Mark in Copenhagen and Salvador and I in Madrid – we have settled on a place midway for rehearsals and exchange of ideas. It would be hard to find a more ideal place for an intercultural and translingual project than Conques, spiritual watering-place on the Way of Saint James that leads through Europe to Santiago de Compostela near the northwestern finistierra of Spain.

I found this town of my dreams thirty-five years ago. This is where I collect inspiration and where I wrote In Place of Absence, my second book of poetry. In Conques the herbal juices that later should yield Polyfonías started brewing.

On the occasion of the 2010 edition of the annual music festival Conques – la Lumière du Roman, our trio managed to gather the entire population of the village for a concert-reading under the magnificent linen-tree whose crown gives shade to Place Chirac overlooking the church. Since then Polyfonías Poetry Project has had its home in Conques as a contemporary artistic ressource to the town where little Saint Foy, martyr and majesty, still works her mischievous wonders.


There are several reasons. 1: The Greek letter delta is a triangle, and this book presents Polyfonías Poetry Project in trio-format. 2: Δ is the fouth letter in the Greek alphabet, and my poetical language nourishes itself on words and expressions from four cultures. 3: In Hebrew the fourth letter Daleth ד means “door” and you can’t pass unchanged through Conques. Hopefully Delta too will open doors in you. 4: “D” is the first letter in “Denmark”, my native country. 5: The river delta is a recurrent theme in my poems. 6: To stress my point that Polyfonías is not a mixture of languages, but a single poetic idiom, I wanted to find a title for my book which would be the same in English, French, Spanish and Danish. 7: The Origin of the World – matrix of creativity – is also surrounded by a delta of hair.


Publishers who love books are today a threatened species. That is why I feel very fortunate that José María Gutiérrez de la Torre, founder and director of Ediciones de la Torre in Madrid has offered to collaborate in the Delta crowdfunding project. This is a guarantee that every detail in the production of the book will be done with utmost care and refined taste. José María is very fond of poetry and is convinced that it is a language that children should be familiar with from an early age in order to keep their imagination and sensitivity alert, and the small, independent De la Torre publishing house has always dedicated special attention to poetry collections for young readers.

Another of José María’s soft spots is Nordic literature and many of Scandinavia’s finest writers have found their way to Spanish readers thanks to him. It is hardly a coincidence if this distinguished and discerning publisher has now taken interest in a a collection of “polyphonic “ poems written by a Danish poet equally at home in four different cultures and interpreted by his Danish-Spanish trio.

It was José María de la Torre who introduced me to the delicate, penetrating and at the same time passionate work of Spanish artist Dinah Samara. Dinah is also a great lover of poetry and she has collaborated with Ediciones de la Torre on several noteworthy projects, such as “Miguel Hernandez: para niños y niñas y otros seres curiosos” (2007). While this book is a marvellous illustration of Dinah’s sensitivity to the child’s world, it was nevertheless not her drawings for this publication, but rather her amazing technique and the depth of feeling of her collages which convinced me that I had found the perfect pictorial partner for Delta.

I was not seeking illustrations for my poems; what I was hoping was to find a graphic artist who shared some of my ethical and esthetic preoccupations and with whom I could enter into a creative dialogue. Dinah and I had both crossed many borders before we met, and when we talk we understand one another. It is this convergence between the spoken languages which is reflected in our artistic endeavors. That’s where the discovery takes place.


is 6.000 € to be able to publish Delta as a book-cd of a quality that will live up to its content. We are planning to print 750 handsomely crafted books on heavy, high-quality recycled paper in which poetry and music – produced according to Mark Solborg’s usual fastidious standards – and the artwork of Dinah Salama will merge into something close to a gesamtkunstwerk. On a more prosaic note we will also have to cover the expenses for postage, handling, rewards and presentations.


As you will see in the “contribute” column to the right, you have different categories of sponsorship to choose between. Or – to put it differently – the more you put into the project, the better and more delicious your reward will be. In any case your credit card will not be charged until we are sure to be able to publish the book. That is, when we have reached the 6000€ we need.

A crowdfunding campaign is a huge effort for everybody involved, but it is also an exciting period where we have to pool our best efforts to reach our goal so that Delta can be a joy for our eyes, ears, mind and thoughts. We therefore hope that you also will do a practical job of involving as many of your friends as possible, by telling about the project and sending links to “family, friends and fools”.


If the campaign is a success, we should be able to present Delta by the beginning of March. The copies to be sent by mail will be posted a week ahead.


After reading all this, you will no doubt welcome the opportunity to read and listen to “Conques, la quête” from the new book. It is an ideal introduction to the world of polyfonías:

Conques, la quête

En Concas, cette conche,

tout arrive et tous repartent,

tout passe

et rien ne s’en va,

tous se lèvent et tout s’enlève.

Et tout reste.


søgende sjæle med hus på ryggen,

almas en vilo con sus vidas a cuestas.

Eager commerce,

searching eyes,

ojos en quête buscando, cher-

chant des yeux en paix.

Bon voyage, fare thee well, ultreïa.

Ici il faut être une ronce

ou un lierre

pour soulever les pierres

et casser les murs.

Campanas, klokker, bells

no rompen el silencio.

Sólido, minéral. In-



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#13 / The players

Le compositeur et guitariste argentin-danois Mark Solborg et le clarinettiste espagnol Salvador Vidal viennent, non seulement de naissance, mais aussi musicalement, de deux paysages différents: Mark est un interprète et compositeur qui a toujours été plongé dans les nouvelles tendances du jazz, tandis que Salvador est un musicien classique avec un intérêt spécial dans la musique classique contemporaine. Ce qui les unit c’est le fait d'être des virtuoses de leurs instruments capables de jouer tout ce qu’ils ont envie de jouer. Et quand ils sont avec Peter, ils ont envie de jouer Polyfonías. Le treillis musical et linguistique que créent Peter, Mark et Salvador exprime une attitude intégrante ainsi qu’un grand respect pour la beauté et la diversité des cultures et des langues qui donnent à l’Europe sa force.


The Danish-Argentinian composer and guitarist Mark Solborg and the clarinetista valenciano Salvador Vidal are not only by birth, but also musically, from different lands: Mark is an interpreter and composer who has always been immersed in the new directions in jazz, while Salvador is a classically trained musician with a special interest in contemporary music. What they have in common is that they are virtuosi, expert instrumentalists who can play whatever they please. And when they play with Peter they are pleased to play Polyfonías.

The musical and linguistic tapestries that Peter, Mark and Salvador create express an attitude of integration and at the same time a great respect for the beauty and diversity of the cultures and languages that constitute the true strength of Europe.


El compositor y guitarrista argentino-danés Mark Solborg y el clarinetista valenciano Salvador Vidal vienen no sólo de nacimiento, sino también musicalmente, de dos paisajes distintos: Mark es un intérprete y compositor que siempre ha estado inmerso las nuevas tendencias del jazz, mientras que Salvador es un músico clásico con un especial interés en la música clásica contemporánea. Lo que les une es el hecho de ser instru-mentistas virtuosos que en realidad pueden tocar lo que les apetezca. Cuando están con Peter les gusta tocar Polyfonías.

El entramado musical y lingüístico que crean Peter, Mark y Salvador, expresa una actitud integradora, a la vez que un gran respeto, para la belleza de la diversidad de culturas e idiomas que constituye la auténtica fuerza de Europa.

**Mark Solborg, born 24.08.1972

Danish/Argentinian guitarist, composer & teacher.**

*I strive to create contemporary music that require presence, and in different ways – with respect – challenges tradition, listener and musician. Music where the sum of the collective efforts is greater than the individual performance. A personal and unpolished approach is a key ambition.

I have since 2000 as composer, leader or co-leader released 14 albums with original works. Besides that a substantial amount of music for plays and film. Awards, prizes and nominations include Danish Arts Agency, The Spanish Cultural Ministry, Danish Music Awards Jazz, CPH Dox, a.o. See reviews and info elsewhere on these pages.

During 2000-13 I have written and developed music for the groups and projects “Mark Solborg 4, On Dog” (ITA/DK/LUX), “Herb Robertson/Mark Solborg duo” (DK/US), “Solborg 4+4+1 feat. Chris Speed and Hank Roberts” (DK/N/US), “Polyfonias” (DK/E), “moLd” (DK/D), “Mark Solborg Trio feat. Evan Parker & Herb Robertson” (DK/UK/N/US), “Solborg/Banke Duo, Short Story Compositions” (Banke/Solborg duo with various poets. Jan Sonnergaard, Kristina Stolze, Pia Juul, a.o),”Hopscotch” (ITA/DK/CAN), Anderskov/Solborg Duo, poetry by Peter Wessel og Adda Djørup, “Revolver” (DK/N/L), “Ventilator”, a.o.. The music has been performed at venues and festivals in Denmark, Sweden, Norway, Finland, Faroe Islands, Lithuania, Latvia, Wales, Ireland, France, Germany, UK, Malta, Spain, Italy, Poland, Syriah, USA, China, Brazil, a.o. by musicians from 12 different nations.

Commissions (supported by the Danish Arts Foundation) include scored works for Nordjysk Sinfonietta, various string and chamber-ensembles, Polyfonias, a.o.

Selected scores for theatre & dance: All performances by “Flyvende Grise” (Incl. Historien Om Alt - Reumert-award 2010), misc. plays at Teater Momentum, Caféteateret, Bergen Nationalscene, DR Radio Drama, E.K.K.O. o.a.

Selected scores for film: “Painting my Secret”, “One Day” (modtager af 2x Gulddox, o.a.) og “Hjemløs” af Ditte Haarløv Johnsen.

As a sideman I have played in many bands and projects including Embla, Copenhagen Art Ensemble, Almaz Yebio Group, a.o

Currently I take part in Rosor och Tulpan (Qarin Wikström sings Evert Taube) and recently in Signe Bisgaards great large ensemble.

Other recent encounters include Francois Corneloup (F) at Jazz d’Or, Andrew Drury (US), Peter Knight (AU) at LAK festival, Ceci Quinteros (ARG), a.o.*


Rythmic Conservatory, Copenhagen: ML , MD Diploma

New School University, New York : Jazz & Contemporary Music Program

Det Kongelige Danske Musikkonservatorium: AM

Vallekilde Summersessions x 6

Study-travels to Brazil and India

Rødovre Gymnasium


Currently associated with The Rhtythmic Conservatory, Copenhagen and various pre academy-schools (MGK), including Sankt Annæ MGK-gymnasium.


Co-founder of the independent record-label ILK. Currently member of the executive committee. Currently member of the DJBFA board.

SALVADOR VIDAL nace en Antella (Valencia) en 1952. A los ocho años comienza sus estudios de música, en la escuela de educandos de la Banda de Música local bajo la supervisión y dirección del maestro D. Carmelo Sala. En el año 1962 ingresa en la citada Banda como clarinetista. En este tiempo sigue perfeccionando sus estudios de clarinete con el citado maestro Sala y un clarinetista de Jumacercel. En 1965 y empieza a estudiar en el Conservatorio de Valencia.

Una vez en Madrid, ingresa en el Conservatorio Superior de Música, bajo la tutela de Don Vicente Peñarrocha Agosti. Con éste y con el también profesor Don Francisco Florido Tenllado, clarinetista de la Banda Real, consigue el título Superior de Clarinete.

Su vida profesional en la capital le hace relacionarse con muy diversos músicos, muchos de los cuales estaban inmersos en el mundo de la música contemporánea; con José Carracedo (oboista), Erundino Carracedo (tompetista), Fernando Villanueva (violinista), Ramon González (flautista), y él como clarinetista deciden formar el grupo de música de cámara “Eco-grupo”. Con este grupo se integran a su vez en colectivo llamado “Elefante” al cual pertenecía un gran número de artistas; músicos, poetas, literatos, actores de teatro, todos ellos residentes en la capital. Con músicos de este Colectivo “Elefante” colabora y participa en grabaciones para películas y TV, ballets y teatro.

En el año 1975, empieza su labor pedagógica. Decide perfeccionar sus estudios musicales y acude a los cursos impartidos por los maestros franceses Guy Deplus y Maurice Martelle en Vitchy y Niza respectivamente.

En 1979 entra como profesor de clarinete en la Escuela privada “Maese Pedro” de Madrid fundada, y dirigida en aquellos años por José Luis Temes y Rosa María Molleda, puesto que actualmente sigue ocupando bajo la dirección ya, de Alfonso Casanova guitarrista y compositor.

En los años que siguen va integrándose, en el que sería su grupo estable y clave para su desarrollo como instrumentista especializado en la música contemporánea, El Grupo Círculo. Grupo dirigido por José Luis Temes, y estrechamente ligado al Circulo de Bellas Artes de Madrid.

En 1987, decide pedir la excedencia de la Banda “Duque de Ahumada”, debido a sus múltiples actividades profesionales en el campo de la música. A partir de este año, además de tener una gran actividad concertística con el Grupo Circulo, funda con los clarinetistas Luis Jimeno, Miguel Civera, y Carlos Pérez, el Cuarteto Boehm. Con estos dos grupos acude a gran número de festivales de la Música del siglo XX de las ciudades más importantes de Europa y Estados Unidos. Con el Cuarteto reciben encargos de varios Compositores; Manuel Lillo, Ramón Femina, José Susi, Alejandro Albistur, Manuel Dimbwadyo, Evelio Alonso, Fernando Palacios, Pedro Esteban, J.Lopez Guereña, Jose Guillot, Alfonso Casanova. La mayoría de de estos encargos estrenados en El Centro de Arte Reina Sofía de Madrid, y grabados por Radio Nacional de España.

En su faceta pedagógica, también en 1987, adquiere el compromiso, junto con otros profesores de la escuela Maese Pedro, formar una sociedad para dar continuidad y solidez a la escuela en la que llevaba ya ocho años como profesor. Esto le hace comprometerse más con la Escuela y la enseñanza, al tener que pertenecer a la junta directiva de Maese Pedro. Forma entonces, en 1992, la Orquesta de Clarinetes Aula 3, compuesta por veinte alumnos y bajo su dirección. Tal vez una de las primeras creadas en España, con este tipo de formación. Con ella realiza giras por varias comunidades de España durante tres años, e interviene en un programa de TV. Participa también, desde 1988 hasta la fecha, en las sucesivas ediciones de los “Cursos de Verano Maese Pedro” como profesor de clarinete, realizados en Aranjuez, Segovia, Torrelodones, y Madrid.

Incansable en su faceta como intérprete, en los años 90, forma el Grupo Espiral con otros tres miembros del grupo Circulo; Tomas Garrido (violoncellista), Adela Gonzalez (pianista) y Salvador Espasa (flautista). En 1995 con su gran amigo y percusionista, Pedro Esteban, forma el Dúo Rarafonía. Entre todos los grupos a los que ha pertenecido, Salvador Vidal ha estrenado más de cien obras de compositores de este último siglo. Solo con el Grupo Círculo bajo la dirección de José Luis Temes, a grabado treinta discos de música actual. Ha grabado para RNE, RAI, Radio Nacional de Francia.

Como solista intervino en la grabación de Ocultos obra de Luis de Pablo, y en el Concierto para Clarinete y Orquesta de Albert Llanas, que estrena con la orquesta Filarmónica de Valladolid y graba posteriormente en Londres, en los estudios Wembley, con la Orquesta Filarmónica de la capital inglesa. Ha grabado como solista también, para RTVE las Piezas para Clarinete Solo de Igor Strawinsky.

Actualmente forma parte del cuarteto de clarinetes Boehm y tiene un dúo estable con Pedro Esteban (percusionista). En 2005 empezó a colaborar con el poeta multilingüe danés Peter Wessel y es –junto al guitarrista Mark Solborg– desde 2008 parte integrante del proyecto poético-musical Peter Wessel Polyfonías Poetry Project con el que ha realizado varias giras por Europa.


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Collage by Dinah Salama
Collage by Dinah Salama

Entrevista con Peter Wessel. Por Héctor Martínez Sanz ("Madrid en Marco" 2010)

HMS: Peter, es un gran placer para nosotros contar con tu presencia en Madrid y poder compartir y disfrutar de tu proyecto Polyfonías. Sé que apenas nada tienen que ver con el dadaísmo, pero, la primera vez que oí hablar de las Polyfonías me vino a la mente la llamada Poesía Simultánea, polifónica, que practicaban Tzara, Janco y Huelsenbeck en el Café Voltaire. Sobre todo, en tres elementos: el trabajo en trío junto a Mark Solborg y Salvador Vidal, la mezcla de idiomas y la importancia del sonido, tanto en la palabra como la música. Quisiera empezar preguntándote, ¿tuviste en cuenta referencias, lecturas, como ésta que menciono, a la hora de concebir las Polyfonías o surgen de tu experiencia directa y personal de la poesía?

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#29 / Play It Cool Boy

Hoy se emplea de manera un poco frívola la palabra cool como sinónimo de “genial”, “fantástico”. El término es el opuesto agradable de hot –caliente– muy diferente de cold –frío– que tiene muchas connotaciones desagradables.

Aunque posteriormente la palabra cool, como término para un estilo de jazz que surgió tras el bebop, ha sido más asociada con la música de Miles Davis, Lee Konitz, Lennie Tristano y Dave Brubeck, fue sin duda Lester Young –saxofonista tenor relacionado con la época de los grandes orquestas swing (solista estrella con el big band de Count Basie a principios de los años ’40)– el músico que introdujo y encarnó en su música y su comportamiento el concepto de cool. Con su forma de vestir (incluyendo su famoso pork-pie hat y gafas de sol bajo los focos de los clubs y auditorios), su costumbre de tocar el saxo teniendo el… read more

#21 / Delta, una confluencia de coincidencias

El 28 de octubre lanzamos con un recital en el Colegio Mayor Rector Peset en Valencia el número especial de la revista de arte y literatura “Canibaal” dedicado a Jazz&Bookstores. En diálogo musical con Javier Vercher (clarinete bajo) y Chevi Martínez (contrabajo) lei una selección de poemas de “Delta” y de “Polyfonías” además de un poema nuevo inspirado en Conques. Reproduzco abajo el texto de mi ensayo “Delta, una confluencia de coincidencias”, publicado en la misma revista.


Me encuentro en Conques –Concas– esa concha dentro de la que he percibido y grabado las coincidencias poéticas que confluyen en las polyfonías del libro-disco Delta. Es agosto, y en las últimas tres tórridas semanas subo y bajo entre la cava-galería de la librería Chemins d’Encre y mi casa en la parte alta del pueblo, justo al interior de las murallas.

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#20 / Delta: Art Exhibition in Conques-en-Rouergue, Translations in Asymptote

Editorial newsletter translated from the Spanish Cuadernos de la Torre

During the month of August, the original photocollages created by Spanish Artist Dinah Salama for Peter Wessel’s new translingual poetry-artbook+cd DELTA were exhibited at Librairie Chemins d’Encre in the Medieval French pilgrim’s village of Conques-en-Rouergue. It was in this setting that the poet on August 8th presented his book in a concert-reading accompanied by the French multi-instrumentalist Jean-Pierre Rasle.

Because he considers Conques to be his second birthplace, it was a deeply moving experience for the Danish poet, who settled there 37 years ago after recognizing the village from an adolescent dream. With time, this thousand year old confluence of European cultures has become a metaphor for Peter’s life and poetry, and – in 2014 – the Town Council decided to have the poem “Conques, la quête”read more

#19 / Delta en images, poèmes polyphoniques et musique à Conques-en-Rouergue

Présentation de DELTA, Chemins d’encre, Conques 8 Août 2015

L’unité n’existe pas, sauf comme un désir – un beau et très humain désir. Nous sommes tous différents et chacun de nous est (peut-être devrais-je dire: chacun de nous sommes) un mélange – un cocktail – de multiples identités.

Non, l’unité n’existe pas, mais à cause de notre peur de montrer nos différences, nos talents et nos contradictions – peur de la solitude et l’ambivalence, l’instabilité inhérente à la vie – nous cherchons l’image unitaire et sûre qui nous offre une réligion, la mode, les préjugés partagés ou autres conventions.

Cependant, pour le carnaval nous sélectionnons un masque qui a quelque relation avec nos désirs et nos rêves, et pendant la fête des fous du Moyen Âge il était fréquent de voir des masques qui… read more


A year ago the Delta crowd had grown big and strong enough to push our project through the shiny surface that separates dream from reality. Centre Press, leading paper of Rodez - the capital of the Occitan region of Rouergue (modern day Aveyron) and birthplace of poet and playwright Antonin Artaud and painter Pierre Soulages - celebrates the anniversary with a beautiful article about the origins of the Peter Wessel Polyfonías Poetry Project and the poem that gave voice(s) to it.

I wish to express my deep gratitude to all of you who were - and are - involved with turning a dusty, stony road into a starry path. ¡Que viva la constelación!

Felices fiestas and a bountiful millésime 2015.

Peter Wessel

Link to article by Eric Guillot, Centre Presse

#17 / Un poema de DELTA saludará a los peregrinos en el Camino de Santiago de Compostela

Estimados mecenas de mi proyecto, quiero compartir con vosotros una gran alegría temperada con un fuerte sentimiento de humildad.

Desde finales de agosto de 2014 el poema central de Delta, “Conques la quête”, saluda a los peregrinos y caminantes en el pueblo medieval francés de Conques.

Este bello pueblo en la Vía Podiensis, acurrucado entre los pliegues de las faldas de los montes de Auvernia, ha sido mi pueblo –el lugar donde confluyen mis lenguas– desde que lo encontré hace casi cuarenta años, siguiendo las indicaciones de un sueño de adolescente.

Escribí "Conques, la quête" en 2010, con motivo del recital de poesía y música que Polyfonías Poetry Project ofreció en el pueblo en el marco del festival anual de música "Conques, la lumière du Roman". Al año… read more

#16 / LETRA PEQUEÑA. La Feria del Libro de Madrid 2014 - de la S a la Z. Por: Javier Rodríguez Marcos (El País)

Ver bajo W / See under W / Voir sous W / Se under W

Dina Salama (artist) and Peter Wessel presenting DELTA at the Madrid Book Fair 2014. (Photo Marga Lucas)

SABINES (Jaime). Poeta mexicano. Mejor, gran poeta mexicano. Quiero decir, grandísimo poeta mexicano. Y no mexicano. Visor acaba de publicar en España su poesía completa. Ya no hay excusas.

SÁEZ (Antonio). Traductor de António Lobo Antunes, ganador del último premio Eduardo Lourenço y co-comisario de la exposición Pessoa en España que ayer se inauguró en la Biblioteca Nacional de Madrid. La muestra contiene varios originales del poeta portugués, una selección de traducciones a las lenguas de Espanha y hasta una carta astral de la Segunda República realizada por el autor del Libro del desasosiego, del… read more

#14 / ¡Delta a la vista! Delta à l’horizon! Delta i syne! Let’s meet at the Delta on the 14th of May.

Thanks to, takket være, gracias et grace à:

Anne Pinson, Esther Nuñez Gaviña, Inge & Erik Olsen, Dai Griffiths, Antoine Cassar, Marianne Lykkeberg, Virginia Ortiz-Repiso, Eva Millares & Eladio Hernando, Carmen Julia Gutiérrez, Juan José Álvarez, Andrés Marquínez, Catherine & Dominique Chavanel, Mª Luisa Páramo, Miguel Ángel Rolland, Catherine Lédé, Agusto Calvo Galán, Olvido García Valdés, Mª Teresa Torres del Pino, Miguel Minaya, Laura Bailey, Marina Testa Pedersen, Alicia Alonso, Eugenia Gentsis, Merete Pedersen, Javier Pérez, John Gill, Ruth du Plessis, Monty, Amparo García, Hanne Schiøtz, Eva Lothar, Gijs van Hensbergen, Torben Lund, Birgitte Hørdum & Hingstmartin, Marion Thieme & Antonio Santamaría Solís, Katherine Carlsen, Hugo & Hanne… read more

#13 / The players

Le compositeur et guitariste argentin-danois Mark Solborg et le clarinettiste espagnol Salvador Vidal viennent, non seulement de naissance, mais aussi musicalement, de deux paysages différents: Mark est un interprète et compositeur qui a toujours été plongé dans les nouvelles tendances du jazz, tandis que Salvador est un musicien classique avec un intérêt spécial dans la musique classique contemporaine. Ce qui les unit c’est le fait d'être des virtuoses de leurs instruments capables de jouer tout ce qu’ils ont envie de jouer. Et quand ils sont avec Peter, ils ont envie de jouer Polyfonías. Le treillis musical et linguistique que créent Peter, Mark et Salvador exprime une attitude intégrante ainsi qu’un grand respect pour la beauté et la diversité des cultures et des langues qui donnent à l’Europe sa force.


The Danish-Argentinian… read more

#12 / Foreword by Alfons Knauth

Peter Wessel’s polyglot poetry, or in his own words his polyfonías project, is highly representative of the artistic expression of modern nomadic and mosaic subjects. In the framework of contemporary cross-cultural movements and migrations, multilingualism has become a basic characteristic of poetic language. It is at once a natural and an artistic way of communication, which is not marginal any more, but more and more substantial.

English may be used as a global language of practical communication, but the dialogue between a mother tongue and the other’s tongue is essential to the shaping and the expression of personal and cultural identity. Such a dialogue can take place in various manners: as a direct or an indirect dialogue, by means of translation or of allusion, by writing different languages in different texts or by… read more

#11 / Artwork by Dinah Salama

”Dinah, is there anyone finer...” cantaba el fenomenal pianista stride Fats Waller. Lo cierto es que considero mi encuentro con Dinah Salama como otro prodigio de Sainte Foy. Los ”conquois” estamos acostumbrados a las intervenciones sorpresivas en el día a día de nuestra pequeña y pícara patrona.

El ”traslado furtivo” llevado a cabo por un monje ladrón en el siglo IX de las reliquias de la chavala Fides, desde la ciudad de Agen – donde fue martirizada en el año 303 d.c con sólo catorce años – a Conques, hace de ella una exiliada a perpetuidad.

El humor irónico del exiliado es un mecanismo de defensa contra la adversidad que ayuda a interpretar la realidad de múltiples formas y ver aspectos en ella que para el ojo racional fácilmente pasan desapercibidos. Creo que nuestro orígen sefardí nos procura a Dinah y a mí la mirada transformadora del alma nómada.


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#10 / Bedstefar

Pour Salomé

Ma petite fille,

Salomé, mit barnebarn,

mi nieta,

para ti soy ”Bedstefar”,

tu única palabra en danés.

Le meilleur père, père

de ta mère,

ton grand’pere danois

en danois.

Cubana de padre, francesa

de madre

y yo, tu raiz nórdica.

doce por cien

y medio, lo que hay de danés

en mi poesía

ou d’alcool

dans une cépage de bonne qualité.

De moi t’as déjà herité

Plus que ta mère:

un mot, an

heirloom du nord:

avec tout ce que celà

veut dire

y con todo lo que tu dirás....


#09 / Memoria, El Pozo, March 11th

loss, pérdida, tab

loss, pérdida, tab,

loss, pérdida, tab, loss

pérdida, tab

loss, pérdida


192 pairs are 384 feet.

Il y avaient trois cent quatre vingt

quatre pieds.

Tre hundrede og firefirs sinds tyve


Tres cientos ochenta y cuatro zapatos,

godasses, sneakers, gummisko



Este poema lo dedico a nuestro querido amigo, el maravilloso fotógrafo Benjamín Larrea que falleció a finales del pasado mes de enero. En 2010 me sugirió que participara en la presentación de su proyecto “El río sensible”, una secuencia de proyecciones de sus videos y fotografías de la India que se iba a estrenar en el Museo Reina Sofía de Madrid en el marco del festival “Imagineindia”. Las poetas Teresa Sebastián y Pilar González España y yo acompañaríamos cada uno una parte de la proyección recitando de nuestra obra poética.

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#08 / La rima de Margarita

Tu nombre, ton nom,

dit navn, Margarita,

which is flower

and means pearl,

perla y flor,

perle, blomst og du,

m’a appris à dire,
écrire et devenir

matiz y matriz

en un seul mot

une seule fleuraison.

#07 / Lieu de naissance

To me Conques es volver, reveiller,

despertar es tu sentido,

your sense, your meaning.

Estás en mí con tu cielo estrellado,


voie lactée que yo soñé

quand j’avais dix-sept ans

et n’étais pas sérieux

como no se lo es a los diecisiete años.

Je ne savais,

no sabía,

I had no idea that a church was on fire,

que ardía una iglesia au delà des montagnes,

og at jeg en dag måtte over bjergene

for at slukke ilden

og frelse kirken...


#06 / On the Edge of the Word

The cavity we all came from,

la boca, cavidad de origen,

mundtlige verden, spoken world.

Bouche du Rhône, mouth

Of Old Miss.

Et delta

uden en fælles gud,

men dækket af en fælles hud.

Coastal outline, lo que nos para

y nos separa, beyond which we need to go...


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#05 / Denne side er ikke til rådighed for hvem som helst, men vil blive set af tusindvis af kultiverede mennesker verden rundt, som er villige til at betale langt mere end de 4.390 €, det vil koste dem at gøre Jorden til et mere åbent og venligt sted at bo

Jeg har i dag lige akkurat to uger tilbage til at indsamle de 4.390 €, som jeg stadigvæk mangler for at kunne udgive den polyfoniske multikunstbog + cd “Delta”. Vores mikro-mæcen støtte- og forudbestillingskampagne slutter den 16. december.

Siden jeg startede kampagnen for 25 dage siden, har jeg hver dag tilbragt 10-12 timer med at skrive personlige mails på dansk, engelsk, spansk og fransk til adskillige hundrede mennesker i alle verdenshjørner for at overtale dem til at støtte et projekt som har til hensigt at vise, at europæisk humanisme i bedste forstand stadig er grænseløs, selv om de internationale finanser gerne vil sætte det lys under en skæppe.

Denne webside er direkte forbundet med min personlige blog, som på kun fem måneder er blevet set af internauter fra 30 lande i hele verden, dvs. det meste af Europa, Nord-Mellem- og Sydamerika, Den Russiske Føderation, Japan, Australien, Saudi Arabien og Marokko, og vil nå ud til mange tusinde mennesker.

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#04 / Cet espace n’est pas disponible pour tout le monde, mais il sera sans aucun doute vu par de nombreuses personnes cultivées des cinq continents, qui aiment notre Terre et qui donneraient beaucoup plus que 4.590 € afin de pouvoir l’améliorer

A partir d’aujourd’hui il nous restent seize jours de cette campagne de micro-mécénat.

Tous les jours je passe entre dix et douze heures à écrire des mails personnels aux francophones, anglophones, espagnols ou scandinaves du monde entier pour les convaincre d’appuyer un projet qui s’inscrit dans l’esprit humaniste européen.

Cette page est directement reliée à mon blog personnel qui en cinq mois seulement a été vu par des internautes de 30 pays procédant de l’Europe, les Amériques, la Fédération Russe, le Japon, l‘Australie, l’Arabie Saoudite et le Maroc, arrivant à plusieurs milliers de personnes. Si vous êtes en charge d’une organisation ou d’une entreprise dans les domaines de l’enseignement, de la communication, de l’environnement, de la lutte contre la faim, de l’anti-racisme ou de la répression de la violence sexuelle contre les femmes et les enfants – ou si vous êtes fabriquant d’un produit qui sert à améliorer la vie des handicapés – read more

#03 / This space is not available for everybody, but it will no doubt be seen by thousands of cultivated, caring people on all continents who love our Earth and would pay a lot more than 4.657 € to make it just a slightly better place to live.

Today there are barely three weeks left for me to raise the 6.000€ I need to publish “Delta”.

Since the beginning of the campaign I have spent between ten and twelve hours a day sending personal letters in English, Spanish, French and Danish to hundreds of people around the world to encourage them to join a project which pretends to revive the spirit of European humanism at its best.

This page is connected directly to my personal blog, which, in only five months, has been seen by internauts from 30 countries spread around the world, including all of Europe (except three smaller nations), Canada, North, Central and South America, the Russian Federation, Japan, Australia, Saudi Arabia and Marocco, and will reach dozen of thousands of motivated people in their native tongue.

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#02 / Este espacio no está disponible para todo el mundo, pero será sin duda visto por gente culta de los cinco continentes que ama nuestro planeta y que daría mucho más que 4.781€ para mejorarlo

A partir de hoy, quedan tres semanas de esta campaña de crowdfunding. Todos los días dedico entre diez y doce horas en contactar personalmente con gente en todas partes del mundo de habla española, inglesa, francesa o uno de los idiomas escandinavos para que apoyen un proyecto que intenta recuperar algo del mejor espíritu humanista europeo.

Esta página está conectada directamente a mi blog personal, que en sólo cinco meses ha sido visto por internautas de 28 países de todo el mundo, incluyendo la casi totalidad de Europa, Norte, Centro- y Suramérica, la Federación Rusa, Japón, Australia, Arabia Saudí y Marruecos, y llegará a varios miles de personas motivadas para buscar un cambio de mentalidad en una sociedad volcada hacia el consumismo ciego.

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#01 / Première


Bonjour, c’est Dimanche matin et après les trois premiers jours dédiés exclusivement à la la diffusion de notre campagne de crowdfunding, je crois que le moment est venu pour ovrir le blog “Delta”.

Il m’a fait très plaisir que le premier mécénat ait été fait par une Conquoise, et les deux prochains par une espagnole et une danoise. Merci beaucoup. Ça montre bien que la poésie qu’offre le projet Polyfonías traverse les frontières et que Conques, cité de rencontres sur une route transnationale, européenne et millénaire, nous a donné son accueil.

J’avais peur que le texte explicatif de la campagne soit un peu long, mais plusieurs messages d’appui – comme celui qui disait (et je traduis du danois) “merci pour une expérience de son et image enrichissante; j’ai beaucoup de respect pour vous, les poètes, qui utilisez les mots et le langage d’une forme si créative” – m’ont rassuré.

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