Toranj – New Iranian electronic music

Toranj is a recital of acousmatic pieces created by young Iranian 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.

 

 

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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.

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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.

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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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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.

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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.

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Ángel Arranz will do a humble contribution by giving a lecture, which will to emphasize the sensitive/abstract relationship between music and space throughout his personal insight of architecture as an means of expression. Also, he will present one of his last creations, S A H, a 7-channel tape with video projection, extracted from our series of 4 avant-garde architectures, [d]espacio.

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.

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.

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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!

SET OF PICS ON SONIC ARCHITECTURES AT LA CASA ENCENDIDA, MADRID

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
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.

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.

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