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Ars Sonora Mix

14 May, 2011 in works

Contribution of RNE to Ars Acustica/EBU-ABP 2011
Selection and mix: Ana Vega-Toscano / José Iges

From Radio Clásica we invite everybody to a travel that we could name 25 / 20 (Ars Sonora Mix): that means 25 years in twenty minutes with a double birthday celebration: the art’s birthday itself and the twenty-five years of Ars Sonora, the program of Radio Clasica focused on the creation of sound art and especially on radio art. For this double birthday we made a quick flight for a few of the many productions by Ars Sonora in these 25 years, using the wings of the word and human voice, an essential element in radio art. Whispered words, imagined, remembered, clean in silence, rescued in a landscape, voices tuned and orchestred with real or imagined sounds…

A tour for 12 works, 12 proposals from the language of radio, with the voices -by order of appearance- of Susan Milnes, Belma Martin, Esperanza Abad, Marisa Manchado, Carolyne Frazier, Agniezska Waligorska and many anonymous guests…:

- Call me yesterday (Antje Vowinckel, 2005)
- A-Roving (Eduardo Polonio, 1994)
- Metalógica (Belma Martin – Pedro Lopez, 1998)
- Del Amor y de la Guerra [From Love and War] (Marisa Manchado, 1999)
- Los juegos [The Games] (Abril Padilla, 2003)
- Música en bruto [Raw Music] (Mercé Capdevila, 2007)
- EAJ-12 (Javier Darias, 1994)
- The Last Words of Ulises (Leopoldo Amigo, 1998)
- Hot&Cold (Agniezska Waligorska – Pekka Sirén, 1992)
- Deriva nº 2: Venecia (Pedro Elías, 1990)
- Atardecer en un patio [Sunset in a Courtyard] (Edith Alonso, 2008)
- Hieros Logos (Manuel Rocha, 2010)

The end of the mix is taken from the piece “Hieros Logos” by Manuel Rocha Iturbide, a commission by Radio Clásica, which premiered at the Alicante Music Festival 2010: “This work deals with an abstract imaginative narrative, where the characters are represented by the sounds of the voice and the human language, not mattering their linguistic origin (Spanish, English, Hindi, etc), the sound source (a baby, a man, a women, an old man), or possible idiomatic meaningless signification (invented electro acoustic sound poetry, etc). The theme that flows through the story is the power of the voice and the speaking language as signs of communication, primarily in the emotional and intuitive planes. These sonic elements, always charged with energy, have been able to transform us through praying, labor singing, sound poetry, and recently with the creation of a new music based not in Melody, but on the different sounds of the human voice.”

The program Kunstradio (ORF) has broadcasted “Ars Sonora Mix” the Sunday 10-4-2011 as well as “Hieros Logos”, by Manuel Rocha Iturbide. You can listen it on:

http://www.kunstradio.at/2011A/10_04_11en.html

Eduardo Polonio: A-Roving

28 March, 2011 in works

Autor / Author: Eduardo Polonio
Título / Title: A-Roving

Duración/Duration: 20’09″
Año / Year: 1993

IPenelope Eades, Susan Milnes, Rafael Taibo y Luis Martín, voces/speaking voices

Observaciones / Observations:

Arte Radiofónico / Radio Art Work
Obra encargo de RNE Radio 2 para el Festival RomaEuropa 93.
Commisioned by RNE Radio 2 to RomaEuropa Festival 93
Producción: Ars Sonora

Realizada en el estudio del autor y en el LIEM-CDMC (Madrid)
Realized at Author’s Studio and LIEM-CDMC (Madrid)

Comentario Autor / Author Review: La obra se plantea como un “recorrido” por tres textos: un poema de Byron (a quien debe su título), un texto citado por Marguerite Yourcenar en “Sous bénéfice d’inventaire” proveniente de “Las confesiones de un comedor de opio”, de De Quincey, o más bien de reminiscencias de Coleridge recogidas por De Quincey, y un texto extraído de “Lettre à la présidente”, texto erótico de Théophile Gautier (Roma, 19 de octubre de 1850); Editions Sauret, Mónaco). El material sonoro de la obra fue generado. en buena parte, por un trabajo realizado con programas de ordenador sobre los textos, aunque me ha interesado que el papel de éstos, más que generador, fuera pretexto, “guía de viaje” de una música elaborada a la manera de “glosa”.

This was written as a promenade among excerpts from various texts which are quoted further on. The starting point is Lord Byron’s poem which lent its title to this work.
The materials used for sound are mostly extracted from texts by software, even if what interested me most was their role, not as a generator, but as a sort of pretext, a travel guide to music conceived as if it were a comentary of “gloss”.

Datos Biográficos / Bio: En 1968 se gradúa como Profesor de Composición en el Real Conservatorio de Música de Madrid. Amplía estudios en Alemania y Bélgica. Compositor e intérprete del grupo KOAN en su primera etapa (1967-1970) y ALEA MÚSICA ELECTRÓNICA LIBRE (1970-72). Desde 1969, prácticamente toda su obra es electroacústica. Cofundador de la ASOCIACIÓN DE MÚSICA ELECTROACÚSTICA DE ESPAÑA, que ha presidido entre 1988 y 1994. Promotor de Festivales como Sis Dies d’Art Actual (1983-85), dedicado al multimedia, Punto de Encuentro de Música Electroacústica (1990-92) y grupos de electrónica en vivo como MULTIMÚSICA. En 1994 obtuvo el MAGISTERIUM del Gran Premio Internacional de Música Electroacústica de Bourges.

After studying piano and composition at the Royal Conservatory of Madrid, he received his diploma allowing him to teach composition in 1968. The first step in his career was a composer and interpreter dor the Grupo Koan (1967-1970). In 1969, he worked for the Alea Laboratory in Madrid and, between 1970 and 1972, he was a member of the Alea Música Electrónica Libre group, the first Spanish electroacoustic music group to play live. He was President of the Asociación de Música Electroacústica de España from 1988 to 1994 and is currently member of the International Academy of Electroacoustic Music. He received the “Magisterium” at the Grand Prix International de Musique Électroacoustic in Bourges, France in 1994. He has promoted festivals and professional symposiums such as Sis Dies d’Art Actual.

Edición / Edition: CD Eduardo Polonio, obra completa. Ed. del autor.