sonic architectures at Festival SON – musicadhoy, Madrid [ES]

Festival SON – musicadhoy became a sort of milestone in our path. Last March 9th, this important festival in Spain dedicated a whole concert to Ángel Arranz’s music by world premiering sonic architectures. This ongoing series of pieces, started in 2004 with the composition of Esquirlas/vacío for piano and electronics, is based on four avant-garde buidlings in Spain [Bodegas Protos, Hotel Marqués de Riscal, Bodegas Ysios and Bodegas Qumrán], designed respectively by four renowned architects: Sir Richard Rogers, Frank Gehry, Santiago Calatrava and Konkrit Blu Arquitectura. Probably you may know more about it here. The presentation resulted in a technically impeccable combination of three 8-channel tape pieces and three live electronics pieces, much of them with video projections.

sonic architectures is a series in which you could combine different pieces in order to make a whole, just in the way of raising up different sound constructs along a timeline. In turn, each piece belongs to different series of pieces, according with the architectural model used for their compositions. For instance, there is a series of three works entitled DK <protos> , another named DK <qumran> , an acousmatic series called [d]espacio, and so on and so forth. In fact, these series conform independently groups of pieces, which could be performed as coherent, separate recitals in a concert situation. In progress is still two of the series to be finished between 2014 and 2015.

Thanks to the great support of musicadhoy and of course the crew of La Casa Encendida, really diligent during the setup, rehearsal and concert time resulted smooth. From our very first minute in Madrid, Rebeca Largo made our visit extremely pleasant.

foto 4 bodegas

Once we arrived to the concert space, the patio of La Casa Encendida, we started to work to recreate the setup we planned few months before. We had in front of us four different setups to be developed in only two days, so you really have to be really tidy if you want to extract some meaninful variety by presenting every proposal really solidly. Concerning to the first set, sonic architectures, we used almost all the technical elements from the venue. In order to take advantage of the room features, incredibly high spaces, we created a sort of double quadraphonic set, probably inspired by our previous concert at Quincena Musical de San Sebastián: one exterior set positioned just close to the corners at 4.5-5 meters height, and one interior set just surrounding the audience, at circa 2 meters from the floor. It is interesting to have this feeling of interior/exterior sounds, specially when you work with the distance sensation respecting to the audience. People from LCE sound department really did their utmost on perfectly positioning the speaker system as specified by not letting one single detail of our rider loose. Nina Kraszewska did an incredibly nice job by programming and handling the mixer control, patching a really complex sheet of instructions. Each one of the pieces was independently demanding in this sense.

SONic+callingHiggs RIDER

It is not frequent, at least according to our humble experience, that you find three comitted musicians at the same time with the same purpose: to get really intelectual, emotionally deep into one’s music. I think the group conformed by Akane Takada, Josetxo Silguero and Ralph Krause represents something like that. Akane’s performance was the first with us and her performance was superb, understanding Esquirlas/vacío for piano and electronics in a very personal way, dualing a sort of combative and hiper lyrical character at the same time. We got breathless during the rehearsals and concert, bravo. Josetxo made a mature version of Qumran, for bass saxophone and electronics; each time I listen to Josetxo to play this piece, I find something more and more atemporal, time-dissolved atmosphere, just the reallly flotant listening that I really wanted during the composition, planned as a kind of traveling from solid matter [concret] to the lightest of the elements [light], represented in the architecture designed by Konkrit Blu Arquitecture. The case of Ralph Krause is really special, it deserves a brief remark. First time he performed Punto Intenso contra Remisso was Salamanca, 2005, Spring time, that was the world premiere. Three years later, Spring 2008, we met again in The Hague; five years later, Spring 2013, following a perfect logarithmic interval sequence, we met in Madrid in order to do again a pendant version of the piece, that is 8-channel diffusion with live electronics written parts, unplayed until the date. it seems that certain development has been worked, as Debussy said, in complete ausence, in silence, during all these years!


world premiere of sonic architectures


Festival SON – musicadhoy

Festival SON – musicadhoy
SON[ic] architectures + callingHiggs

Sábado 9 de marzo, 22h

Patio de La Casa Encendida
Ronda de Valencia, 2

Ya está todo listo para nuestra participación en una nueva edición de Festival SON – musicadhoy el próximo sábado a las 22.00 horas, en el marco de La Casa Encendida de Madrid. Contaremos con la presencia en esta ocasión de tres grandes músicos: Akane Takada, Josetxo Silguero y Ralph Krause, quienes nos ayudarán, junto con Nina Kraszewska en el control técnico, a recrear por ver primera sonic architectures de Ángel Arranz, un ciclo de composiciones electroacústicas y acusmáticas con proyecciones de video. El ciclo está compuesto de un número variable de piezas, basadas e inspiradas en la arquitectura.

esquema planta Protos

sonic architectures es una propuesta creativa de largo recorrido, no finalizada aún, la cual nació en 2006 en torno al núcleo de arquitectura, música y la video creación. Se da la circunstancia que los cuatro edificios tomados como modelos son cuatro bodegas vanguardistas españolas. La aventura comenzó con Bodegas Protos, obra del Sir Richard Rogers [lo cual, atendiendo a la raíz griega del nombre, no deja de ser paradójico que éste fuera el primer edificio], para la que compusimos Aquarius. Luego surgió un ciclo entero sobre la misma bodega [DK <sin> para ensemble, Electronic Study, tape a 4 canales] y más adelante vinieron más edificios: Hotel Marqués de Riscal, Bodegas Qumrán y Bodegas Ysios…  y sobre ellos nuevos ciclos.

Presentaremos también callingHiggs, una pieza phoneart donde usaremos telefonía móvil. Se trata de una pieza para 31 pistas diferentes, distribuidas entre los teléfonos móviles del público participante, con el apoyo de una tape a 8 canales que tratará de sacar partido a las peculiaridades del set octofónico que tendremos en la sala.


Qumran in Quincena

>> Versión en español

Two weeks ago, we visited the Basque Country to prepare our concert with Josetxo Silguero in the Quincena Musical of San Sebastián. We enjoy having isolated spaces in the middle of the city, far from the madding crowd, so that we can work on sound comfortably. This time, the rehearsals took place in a small chapel, surrounded by a delightful garden, just in the center of Irún. Here we installed a quite complete rehearsal set [many thanks to Diego]. The setting-up was fast and we could get to work immediately.

For the first time, we had the opportunity of working on Qumran with the all the resources this piece deserves. Ángel revised the piece and included five electronic interludes, as well as live electronics processes. Also, we did likewise with the video, defining a stunning range of images, from real-time improvisation with ruins of judaism-inspired buildings, to suggestive geometric grids and rich textures. We are really glad about the results of the aesthetic whole.

Sigue leyendo

Qumran en Quincena

>> English version

Hace justo dos semanas que visitamos el País Vasco para trabajar en la preparación del concierto con Josetxo Silguero en Quincena Musical de San Sebastián. Nos encantan disponer de espacios aislados del casco urbano y del mundanal ruido para trabajar el sonido a nuestras anchas. En esta ocasión los ensayos se realizaron en una pequeña ermita en el centro de Irún rodeada de un apacible jardincillo. En ella instalamos un set de ensayo bastante completo [muchas gracias a Diego]. El montaje fue rápido y nos pusimos a trabajar en seguida.

Pudimos trabajar Qumran con el tiempo y la extensión de medios que la pieza se merece. Revisamos la pieza introduciendo cinco interludios electrónicos y procesos de electrónica en vivo, mientras que fuimos definiendo una bellísima paleta de imágenes, que iban desde la improvisación a tiempo real de ruinas de edificios inspiración judaica, retículas formadas por sugerentes geometrías y ricas texturas. Ambos estamos especialmente contentos con el resultado del todo estético.

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A matter of adaptation

>> Versión en español

Last 29th of August we took part in the Contemporary music series of the Quincena Musica de San Sebastián, together with the saxophone player Josetxo Silguero. This concert centered around the bass saxophone (althought this was not the only representative of the saxophone family), and of course, around electronics and video creation. For us it was an inmense pleasure to work with such a great professional and sound craftsman as the engineer Juanan Ros.

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Cuestión de adaptación

>> English version

El pasado 29 de agosto participamos en el Ciclo de Música Contemporánea de la Quincena Musical de San Sebastián junto con el saxofonista Josetxo Silguero. En este concierto el saxofón bajo fue el protagonista, aunque no el único de la familia de los saxofones, y por supuesto, la electrónica y la video creación. Tuvimos el inmenso placer de trabajar con todo un gran profesional y artesano del sonido, el ingeniero Juanan Ros.

Sigue leyendo

The DK en la Quincena de San Sebastián [ES]

El próximo 29 de agosto de 2012, The DK <projection> ejecutará la obra Qumran para saxofón bajo, electrónicas y video junto con el saxofonista Josetxo Silguero en el teatro Kursaal de San Sebastián [ES].

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