Extrusion en Instituto Phonos – Barcelona

El próximo 20 de marzo a las 19.30h, la pieza Extrusion de Ángel Arranz abrirá un nuevo concierto Phonos en el Institut Universitari de L’Audiovisual – Universidad Pompeu Fabra de Barcelona.

Extrusion, obra de 2010, es la segunda tape del ciclo [d]espacio: serie acusmática con videoproyección sobre cuatro bodegas vanguardistas españolas. Música, videoarte y arquitectura compuesto por Ángel Arranz con visualizaciones de Beatriz del Saz. La pieza está inspirada en el edificio de Bodegas Marqués de Riscal – Ciudad del Vino, diseñado por Frank Gehry; está compuesta para 8 canales y fue estrenada en la Discussion Concert Series del Institute of Sonology de La Haya en 2010.

La versión que se ejecutará en Phonos será una versión octofónica sin video-proyección.

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Extrusion en Salamanca, La Haya y Barcelona

Extrusion, la segunda pieza del ciclo [d]espacio, será interpretada los días 6 y 8 de marzo respectivamente en Salamanca y La Haya dentro de sendos estrenos del ciclo completo. Posteriormente el día 23 Extrusion formará parte de un programa de música octofónica organizado por el Instituto Phonos en la Universidad Pompeu Fabra de Barcelona.

Sobre esta pieza escribimos hace un tiempo, así que os invitamos aquí a explorarla  un poquito en cinco minutos [solamente inglés]. En la página de Beatriz encontraréis un comentario sintético sobre Extrusion.

Extrusion at Salamanca, The Hague and Barcelona

Extrusion, the second piece of [d]espacio series will be performed March 6th and 8th respectively in Salamanca [ES] and The Hague within the world-wide premieres of the complete series. Later on, the 23rd, Extrusion will take part in a octofonic music session organized by Instituto Phonos of the Pompeu Fabra University of Barcelona.

We wrote about this piece time ago, so we would like to invite you here to explore it a bit in few minutes. In Beatriz’ website also you could find a summarized remark on Extrusion.

Extrusion inspired by Marqués de Riscal

<<versión en español

This week is the turn of Extrusion, the second electronic piece of our series [d]espacio. Extrusion is a piece inspired by the building Bodegas Marqués de Riscal, which is located in the Rioja alavesa, a northern region of Spain.

Frank Gehry, the Canadian architect living in the States, author of emblematic works such as Museo Guggenheim of Bilbao, created an incredible building for Bodegas Marqués de Riscal. The building we took as inspiration and compositional model is a paradigmatic hotel situated within the winery´s facilities, and transmits an overwhelming vibration, formal beauty and communication power.

Extrusion inspirada en Marqués de Riscal

<<English version

Toca el turno esta semana a Extrusion, la segunda pieza electrónica de nuestra serie d[espacio]. Extrusion es una pieza que está inspirada en el edificio de la bodega riojana-alavesa Bodegas Marqués de Riscal.

Frank Gehry, arquitecto canadiense asentado en Estados Unidos, autor de obras tan emblemáticas como Museo Guggenheim de Bilbao, levanta una obra inigualable para Marqués de Riscal. El edificio tomado como modelo compositivo es un paradigmático hotel dentro de las propias instalaciones, y transmite una vibración, belleza formal y poder de comunicación que sobrecogen.

Metal splinters, helicopters with umbrella and PVC voices

EXTRUSION [2010]
8-channel tape piece
Ángel Arranz

‘Everything is curved’. So did my dear colleague Casper Schipper define his first listening to Extrusion, the second electronic piece from a series of four works, which I expect to finish in 2011. Maybe it is because of my renewed interest in Baroque aesthetics, maybe because of a more aware use of the spatial/temporal qualities of the materials, certainly it results in a more flexible approach to time than even in my previous electronic piece, Electronic Study. The piece was composed thinking about the features of the space in which it has been premiered, the Schoenbergzaal of the Royal Conservatory of The Hague. To a certain extent, in Extrusion sounds seem to be closer to the limits of the space they inhabit. I have always found especially suitable the apparently austere concavities of the Schoenbergzaal, an architectural compound of solid bricks and wood. In order to develop spatial gestures of sounds in a physical way, the hall is not hugely big as a large concert hall, but long and wide –and high- enough as to magnify some sonic gestures, which draw a completely new impression of the space fed by the music. So, space becomes a sort of instrument just in the moment when you try to modify the perceptions that the audience have about it in a virtual way along a deconstructed timeline.
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