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.

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callingHiggs

Last March ÁNgel 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.

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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.

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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.

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.

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Festival SON – musicadhoy

Festival SON – musicadhoy
SON[ic] architectures + callingHiggs

Sábado 9 de marzo, 22h

Patio de La Casa Encendida
Ronda de Valencia, 2
Madrid

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.

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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.

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