Hoy 8 de marzo de 2012 , a las 19.30 h, en la Arnold Schoenbergzaal del Koninklijk Conservatorium de La Haya presentamos [d]espacio: serie acusmática sobre cuatro arquitecturas españolas. Música, video-arte y arquitectura.
La entrada es gratuita y el evento incluye una cata de vinos.
Tonight 8th March 2012, 19.30h, at the Arnold Schoenbergzaal of the Koninklijk Conservatorium of The Hague we will present [d]espacio: acousmatic series on four Spanish buildings.
Free entrance and free wine tasting of 4 excellent Spanish wines.
De la luz y del espacio (On light and space) [2011]
Video 13′ 46” Music by Ángel Arranz
De la luz y del espacio is the fourth and last piece of the series entitled [d]espacio, composed by Ángel Arranz and inspired on four different avant-garde buildings in Spain. De la luz y del espacio is based on Bodegas Qumrán, a work by the architecture studio Konkrit Blu from Barcelona. The piece takes as a model the resonances of the real spaces, recorded by the composer self.
To this end, a glass of wine was used as a resonator by introducing inside a small microphone. This noise-silence captured by using naturally amplified resonators was taken as a metaphor of light translated to sound. So do video animations. These are based on the real 3D model of the winery. Few colors were used in order to enhance the quality of shapes, while the duality between light and space is represented with the colors black and white. The video was created in close collaboration with the composer, and this made possible a special synergy with the musical discourse.
De la luz y del Espacio (On light and space) (2011)
Video 13′ 46” Música por Ángel Arranz
De la luz y del espacio es la cuarta y última pieza de la serie titulada [d]espacio, compuesta por Ángel Arranz e inspirada en cuatro edificios vanguardistas diferentes en España. De la luz y del espacio está basada en Bodegas Qumrán, un edificio por el estudio de arquitectura Konkrit Blu de Barcelona. La pieza toma como modelo las resonancias de los espacios reales, grabados por el compositor mismo.
Para llevar esto a cabo, se usó una copa de vino como resonador, introduciendo dentro un pequeño micrófono. Este ruido-silencio capturado por medio de un resonador amplificado de manera natural fue tomado como metáfora de la luz trasladada al sonido. Así ocurre con las animaciones de video, las cuales están basadas en el modelo 3D real de la bodega. Unos cuantos colores fueron usados para ensalzar la cualidad de las formas, mientras que la dualidad entre luz y espacio es representada con los colores negro y blanco. El video fue creado en estrecha colaboración con el compositor, lo que posibilitó una sinergia especial en el discurso musical.
Capturing the spaces at Bodegas Qumran, un álbum en Flickr.
Next saturday 19th november 2011 will be the world premiere of Qumran, for bass saxophone and electronics, wich will take place in Valencia during the International Electronic Music Festival ‘Punto de Encuentro’ organized by the AMEE (Asociación de Música Electroacústica de España).
Location: Club Diario Levante
C/ Traginers, 7
Poligono Vara de Quart, Valencia [ES]
Time: 20.00h
The world premiere will be performed by Josetxo Silguero, with the participation of Beatriz del Saz (video) and Ángel Arranz (electronics) . Works by Eslava, Satué y Arranz.
Further information:
Anunciamos el estreno absoluto de Qumran, para saxofón bajo y electrónica, que tendrá lugar en Valencia el próximo sábado, 19 de noviembre de 2011, en el Festival Internacional de Música Electrónica ‘Punto de Encuentro’ organizado por AMEE (Asociación de Música Electroacústica de España), en Club Diario Levante a las 20.00h.
Club Diario Levante, 20.00h
C/ Traginers, 7
Poligono Vara de Quart, Valencia [ES]
Josetxo Silguero será el encargado del estreno absoluto, junto con la participación de Beatriz del Saz en el video y Ángel Arranz en las electrónicas. Obras de Eslava, Satué y Arranz.
Más info en:
Raphaël Simon is a sensational guy. We met via Internet about a year ago, and few weeks later, late July, we met in person in Paris. He told me that he likes my music very much, particularly my piece Punto Intenso contra Remisso,and that it would be great if I could find some time to write something similar for percussion set and electronics. I had been thinking about undertaking my second project about music and architecture for some time already, so this was a natural step. By the end of August, we agreed the compositional stages for the piece, with the Gaudeamus Interpreters Competition, which would take place in Amsterdam in April 2011, as our goal.
Qumran B is dedicated to Raphaël, and is the third and last piece of theDK<qumran> series; however, it was the first one to be completed, middle of march this year. You see, I like to put the cart before the horses. The reason of this is a series of practical circumstances (a long story) from which we extracted some interesting aesthetic and creative conclusions.
We rehearsed Qumran B several days before Raphaël´s participation in this competition, in the BEA6 study of the Instituut voor Sonologie of The Hague. Working with Raphaël was a highly gratifying experience, and I learned a lot:
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The day of the rehearsal was great. Our morning started with the transportation of a lot of heavy stuff into the Insituut – you wouldn´t believe the amount of things that can fit inside Raphaël´s car! – From time to time, the concierges sneaked a look at us, and when the time came to move the set of paella dishes, they could not help bursting into laughs… They thought they had seen everything!
As an anecdote, I can tell I had to start Qumran B twice before I started to write the definitive version, which I finished by the end of February, beginning of March. I had been thinking about the possibility of incorporating several levels of notation based on the Gregorian neumes. The first version was literally swallowed by Raphaël at first sight reading, so he wrote me an e-mail asking me -very prudently- if I might write something more suitable to the level of difficulty expected in an interpreters competition. I replied that this first version was written with the aim of creating an accessible writing etc, but nevertheless I granted his request. I restructured the piece from top to bottom, from the notation style to the materials´ essence, until the point of developing a complexity which we could describe as “notably different” as to the previous version. Raphaël congratulated me with a very enthusiastic and very big “bravo”, and we did not speak about this until our next meeting in The Hague, some days before the competition. It is then when I realized my friend´s great musical potential: he was able to prepare the piece – including electronics- in just one rehearsal. Qumran B is a quite demanding and difficult piece, if we take into account the several representativity layers mentioned above, the amount of polyrythmics hidden in every note, and also that the piece is very gymnastic as to gestures, or the simultaneous vocal interpretation of fragmented verses, all of it combined with an electronic track lacking any chronometric reference whatsoever. At the end of this extremely intensive working session, he confesses us that his first exclamation when he studied the finished score for the first time was: “But what kind of madness has this guy written?”. Raphaël is able to play the piece at this level of madness, so we´re really delighted.
