Toranj – New Iranian electronic music

Toranj is a recital of acousmatic pieces created by young Iranian men and women composers. The concert gives insight into the excellent moment and the splendid panorama of the electronic music in Iran, a consolidated country with an enormous creative power and sonic imagination.

TORANJ_ENCradle, pass and projection of the oldest civilizations of humanity and diverse ancestral cultures, Iran possesses an artistic and musical tradition deeply rooted and tightly connected to a sort of spirituality, in the visual and sound realms, both of them characterized by the use of filigree, the geometrical virtuosity and the knowledge of space. This emotional approach to sonic phenomena is traceable in Iranian classical and folk music.

porxets_p_b Model (1)The music presented by The DK<projection> in the recital endeavours to make converge contemporaneity and tradition, dealing masterfully with sound through new technologies. With a deep understanding of space and a ductile treatment of sound, the music by these young Iranian authors unites rationality and emotion at sensitive levels, which are difficult to reach by today´s Western composer.

With the inestimable collaboration of the Institute of Sonology The Hague [NL], the premiere of this project will take place within the 10th Mostra Sonora de Sueca, Valencia [ES] 8th of May, 2014 at 20.30 hours, venue Els Porxets – Sara Moret, adress Carrel del Sequial, 1 Sueca, together with three other productions by The DK <projection> from 8th to 11th of May, 2014, respectively: callingHiggs, a flashmob for cell phones, DK <qumran>, multidisciplinary series of pieces based on the avantgarde building Bodegas Qumrán by Konkrit Blu Arquitectura and the concert Institute of Sonology. As a homage to the composer Dick Raaijmakers, this last recital will be conformed by historical and recent pieces by authors from this important European institution.

 You can download the full program, click here.

 

 

esquirlas/vacío en Sonology Discussion Concert Series

Esquirlas/vacío recibirá su premiere holandesa esta tarde 17 de abril a las 19.30 horas en la Schoenbergzaal del Koninklijk Conservatorium de La Haya de la mano de la pianista Akane Takada y el compositor Ángel Arranz en las electrónicas en vivo durante el último concierto de la temporada de los Discussion Concert Series del Instituto de Sonología en La Haya. La pieza a su vez fue estrenada en 2013 en el Festival SON organizado por musicadhoy por Akane Takada en La Casa Encendida de Madrid durante el concierto monográfico de Ángel Arranz dedicado a sus series de arquitecturas.

Image

Esquirlas/vacío forma parte, junto con otras dos piezas, del primer ciclo de arquitecturas de Ángel Arranz titulado DK <protos> y basado en aspectos geométricos del diseño del edificio Bodegas Protos. construido por Richard Rogers en Peñafiel. Estas piezas son DK <sin>, para ensemble multi-instrumental variable y electrónica, y Electronic Study, para tape. El ciclo entero fue estrenado en las Bodegas Protos de Peñafiel el pasado 23 de noviembre de 2013, durante el concierto de clausura de Peñafiel Milenio 2013, festival que celebró los Mil Años de la Fundación de la Villa de Peñafiel [1013 – 2013]. 

 

 

MATERia

MATERia emphazises the Latin dual root of the word: on one sense is understood as matter, material, substance which things are made of; but there is other sense that indicates return, origin, that is mater, mother. That both are exactly the expressed concepts in the concert curated by Ángel Arranz last March 9th at La Casa Encendida, Madrid in the framework of Festival SON organized by musicadhoy.

materia

MATERia picked up the exceptional works for live electronics and acousmatic music of six young Spanish composers, three women and three men: Germán Alonso, Raquel García Tomás, Josué Moreno, Nuria Giménez Comas, Abel Paúl y Teresa Carrasco. It gave form to a recital in which conceptual continuity was a developed special feature.

The main idea was to explore the mental territory, aesthetically and culturally, between the  European areas in which these authors live and the origin they all share.  It was like an expansive musical map that showed last tendencies in Europe, and in turn expressed a sort of contraction towards Spain. In a certain way, it did put an emphasis to the contradiction between the huge talent Spain has abroad and the current economical framework.

MATERia RIDER

David Cristóbal Litago, saxophones and Akane Takada, piano did an amazing work taking complete advantage of the radial octophonic set distributed around the patio of La Casa Encendida. We tried to produce a recital in which the performative action could be not only listened to, but as well felt it by the mere proximity of the musicians to the audience. Somehow, sounds sourrounded both, performers and audience, so it contributed to a more inmersive presentation of music enjoyed not only by the musical activity, but sound  and light strategies.

DSC_0414DSC_0417DSC_0491DSC_0423DSC_0425DSC_0439
DSC_0479DSC_0484raquel pic

Composing Spaces Symposium – Institute of Sonology of The Hague

During five exciting days, from 9th to 13th of April, the Institute of Sonology will cellebrate the symposium Composing Spaces. Spatial Music from Grabrielli to the 21st century. This will be a nice occasion to share knowledge with really expert people from different countries under the same common denominator of enjoying sound from a liberated point of view, which nowadays takes space as a main concern in music.

KC_Sonology_CP_A5.indd

A gathering of forces completely relevant in this subject, such as Groupe de Recherches Musicales Paris, the Institute of Sonology – Koninklijk Convervatorium The  Hague,  The Technical University Berlin, The Spatial Information Laboratory of the Royal Melbourne Institute of Technology and The Netherlands-based The Game of Life Foundation will contribute to present unique insights on the flourishing relationship between music and space.

During the concerts, the audience will be able to listen to music through three different diffusion systems, which match together at the same hall, the Arnold Schoenbergzaal: besides an octophonic set, the Acousmonium loudspeaker-orchestra from GRM and the Wave Field System of the Game of Life Foundation.

8469848043_a29555d742_o

We, The DK <projection> [Ángel Arranz & Beatriz del Saz] will do our humble contribution by developing a lecture, which will to emphasize the sensitive/abstract relationship between music and space throughout our personal insight of architecture as an means of expression. Also, we will present one of our last creations, S A H, a 7-channel tape with video projection, extracted from our series of 4 avantgarde architectures, [d]espacio.

callingHiggs

Last March we presented first time callingHiggs in our concert at Festival SON – musicadhoy in Madrid, as a sort of final piece. This is an acousmatic piece for 31 mobile telephone parts performed by the audience and conducted by the composer himself, together with the support of an 8-channel tape and a video projection. The piece deals with the assemblage of several pre-composed parts shared between the members of the audience, as if they were singular particles or bosons extended around. It generates a kind of electronic piece that plays with the people role and the occupied spaces in a versatile way.

foto_portada_callingHiggs

The Higgs’ Boson seems to expand openly a complete revaluation of our values upon the universe existence, defying even the limitations of knowledge itself, as well as faith. Therefore, this is a situation really crucial for the human kind. Somehow, the piece wants to emphasize this sense of last question by making tangible a sort of universal grid through the sound of a multitude of mobile telephones in the performance, as if each mobile was one particle within an imaginary grid.

549830_10200756525055042_276723204_ncallingHiggs seek to dominate the performed space through a series of controlled behavioral gestures. This behavior on the sonic masses has to do  more with a certain holistic idea than an exhaustive control of sound diffusion via telephone assemblage, which were able to generate a real spatiality in physical terms, beyond psychoacoustics. The basic idea is to create textures literally able to bend our spatial perception by working from the material genesis itself, taking into account the total result from the individual parts. By the same token, the piece entails a biological control of materials, in which the reference  between them in a genetic level is implicit inside the content margins of each singular event.

Vertical sound landscapes

During the two-days working time at Festival SON, The DK <projection> curated the wonderful piece Missa Brevis for church organ and live electronics by the composer Josué Moreno. The piece is a sort of sound installation that uses generative processes keeping itself evolved endlessly and interacting beautifully with the space it occupies.

DSC_0353

At the very beginning of the piece, the performer plays a written score spatialized among a number of speakers. At a certain moment, the performer stops playing the organ and an autonomous process via computer continues the music by using, among many other things, the pre-stored sounds played by the perfomer. The result is a fascinating number of luminous sound events spread around the space. Josué’s music has this sort of northern Europe touch that deals with sound in a very crystalline way. We tried to emphazise this by using a small positive organ, property of the great Spanish organ builder, Federico Acítores [many thanks, Federico!]. The positivo’s sonic warmness, indeed a characteristic pretty analogic from these kind of instruments built by Federico, was really let noted in the hall. Furthermore, it was a brand-new incredible instrument just finished some days before, whose registers were able to produce the sweetest sounds. So, it resulted in an asserted presentation. Here, you could listen to an short extract from the live recording of the concert:

The original artistic/philosophical idea of Josué’s piece is to keep it sounding even days. Generally speaking, the composer understands the concept score not as a mere field of instructions, but as a sort of  sonic choreography in which, in a certain way, musical time is extended. In this occassion at Festival SON – musicadhoy, the whole musical programme was realized at the patio of La Casa Encendida, so it was neccesary to adapt the exhibition time in order to fit well among many other concerts and actitivies. In spite of these little time constrains, the piece worked out gorgeous within the space we exclusively designed for it.

Missa_Brevis RIDER

Ángel was really inspired by the vertical aspect of the patio, so he proposed to Josué to adapt the diffusion idea of the work to this feature.  In order to realize that, Ángel designed a speaker set that describes a sort of helicoidal rising route. In order to do that, two extra speakers were hung, one from a balconiy and another from the terrace at La Casa Encendida attic, something like 20-25 meters up to the floor. There were like five different height levels in which 8 speakers were distributed: floor level, medium level, high level, balcony level and attic level. The idea was to obtain farer away sounds while the piece occuring, only letting the two uppest speakers sound at the very ending section of the piece. This vertical aspect, together with the idea of luminosity, that is, to achieve each time more and more luminous sounds by verticalizing them, worked perfectly together.

DSC_0349DSC_0463DSC_0441DSC_0442DSC_0346DSC_0353
DSC_0473DSC_0429DSC_0434DSC_0489DSC_0497DSC_0495
DSC_0496IMG_0351DSC_0490