El sello discogr\u00e1fico valenciano Liquen Records ha publicado recientemente un nuevo \u00e1lbum de obras del joven compositor Joan G\u00f3mez Alemany (Valencia, 1990), titulado 7 works for chamber music and ensemble<\/em> (7 obras para m\u00fasica de c\u00e1mara y conjunto). Se trata de piezas compuestas entre 2016 y 2020, fruto de encargos y residencias en diversos pa\u00edses, lo que posibilit\u00f3 que fueran grabadas en directo por formaciones instrumentales de gran prestigio internacional. En orden cronol\u00f3gico: La religi\u00f3n del sonido <\/em>(2016), fue grabada por el Schallfeld Ensemble, dirigido por Leonhard Garms; String Quartet N\u00ba 1 (\u00e1tanoSonata)<\/em> y Lo duro y lo blando <\/em>(2017), interpretadas, respectivamente, por el Arditti Quartet y el Ensemble Multilat\u00e9rale, dirigido por L\u00e9o Warynski; 4 disparates de Goya <\/em>(2018), a cargo del cuarteto BCN 216, dirigido por Francesc Prat; eros-tans-tngi-ugog-cel\u00f6-esel<\/em> y TV (Television) = TN (TransNacional) = TNT (TurnerNetworkTelevision) (TriNitroToulene)<\/em> (2019), interpretadas, respectivamente, por el Schallfeld Ensemble y Container Ensemble, y Una tierra fragmentada <\/em>(2020), a cargo del Shifter Ensemble.<\/p>\n La religi\u00f3n del sonido<\/em> fue escrita para flauta baja, clarinete bajo, saxof\u00f3n bar\u00edtono, viol\u00edn, violonchelo, contrabajo, percusi\u00f3n y piano y se grab\u00f3 en directo el 17 de febrero de 2017 en el Impuls Festival de la localidad austr\u00edaca de Graz. Se trata de una pieza que, seg\u00fan explica el propio autor en el libreto \u2013escrito por Paco Ya\u00f1ez\u2013 que acompa\u00f1a el disco, muestra influencias \u00abque van de la m\u00fasica \u00e1rabe a la japonesa, pasando por la tibetana, as\u00ed como por la reformulaci\u00f3n de las mismas en la obra de compositores como Giacinto Scelsi o John Cage [\u2026] formada por bloques sonoros construidos en un estilo geom\u00e9trico, prevaleciendo m\u00e1s una construcci\u00f3n rigurosa, no intuitiva\u00bb.<\/p>\n La pieza para cuarteto de cuerdas String Quartet N\u00ba 1 (\u00e1tanoSonata)<\/em> fue grabada por el prestigioso Arditti Quartet (formaci\u00f3n fundada por el violinista ingl\u00e9s Irvine Arditti en 1974) el 7 de octubre de 2020 tambi\u00e9n en Graz, en el antiguo Cuartel de jinetes de la ciudad austr\u00edaca, incorporado en 2007 a la Universidad de M\u00fasica y Artes Esc\u00e9nicas de Graz. Se trata de una reinvenci\u00f3n de la sonata reformulando el timbre instrumental a la manera de Helmut Lachenmann, un autor que ha definido su estilo compositivo como \u00abm\u00fasica concreta instrumental\u00bb.<\/p>\n Lo duro y lo blando<\/em> se grab\u00f3 el 16 de julio de 2017 en la iglesia de Nuestra Se\u00f1ora de la Asunci\u00f3n de la localidad de Saint-Martin-V\u00e9subie, en la Costa Azul francesa. Se trata de una pieza para clarinete bajo, arpa, violonchelo y contrabajo, en el que se aprecian influencias de compositores franceses Mark Andre, Yann Robin y el compositor saturacionista Rapha\u00ebl Cendo. G\u00f3mez Alemany explica que el contraste entre sonidos duros y sonidos blandos implica \u00abel uso de sonidos percutidos, precisos, marcados (como los pizzicati<\/em> y los slaps<\/em>) frente a los rugosos, extendidos, fr\u00e1giles y movedizos (como los scratch<\/em>, los tr\u00e9molos o el aire sin tono)\u00bb.<\/p>\n 4 Disparates de Goya <\/em>es una pieza para clarinete bajo, violonchelo, percusi\u00f3n y piano, que fue grabada el 15 de mayo de 2018 en la Fundaci\u00f3n Phonos de Barcelona. Es una versi\u00f3n ac\u00fastica de la obra electroac\u00fastica del mismo t\u00edtulo que hab\u00eda grabado anteriormente en disco \u2013Electroacoustic Works (2016-2019)<\/em>\u2013. En esta nueva versi\u00f3n se contaba tambi\u00e9n con un dispositivo electr\u00f3nico que amplificaba cada uno de los instrumentos y aportaba sonidos pregrabados que fueron espacializados alrededor del p\u00fablico a trav\u00e9s de cuatro altavoces. En el libreto, Paco Ya\u00f1ez explica que la obra se inspira directamente en los grabados de Francisco de Goya conocidos como Disparates<\/em> o Proverbios<\/em>, en concreto cuatro de dichos grabados, los n\u00fameros 7, 9, 15 y 18, que se corresponden con Disparate matrimonial<\/em>, Disparate general<\/em>, Disparate claro<\/em> y Disparate f\u00fanebre<\/em>. La atm\u00f3sfera goyesca se convierte en \u00abuna m\u00fasica que amalgama todo un submundo entre lo on\u00edrico y ese sue\u00f1o de la raz\u00f3n que, como afirmaba el propio Goya en la serie de Los caprichos<\/em>, produce monstruos; aqu\u00ed, aut\u00e9nticos gritos po\u00e9ticos\u00bb. Una pieza absolutamente de sonoridad absolutamente siniestra y radical.<\/p>\n eros-tans-tngi-ugog-cel\u00f6-esel<\/em>, interpretado por el Schallfeld Ensemble el 18 de septiembre de 2020 en el sal\u00f3n barroco del seminario de sacerdotes de Graz, en el marco del Impuls Festival, es una pieza para flauta, clarinete, piano, viol\u00edn y violonchelo que extrae su t\u00edtulo de un texto del escritor y m\u00fasico austr\u00edaco Thomas Antonic (fundador en 2009 del colectivo art\u00edstico transnacional e interdisciplinar William S. Burroughs Hurts), en el que se suceden sil\u00e1bicos musicales y ruidosos, superponi\u00e9ndose capas ruidistas en las que \u00ablos cinco atriles funcionan como un metainstrumento [\u2026] lo que proporciona a la partitura esa intensa sensaci\u00f3n de ente vivo y crepitante, de organismo musical que prolifera en diversas direcciones\u00bb.<\/p>\n Aunque no es la \u00faltima obra, cronol\u00f3gicamente, el disco acaba con TV (Television) = TN (TransNacional) = TNT (TurnerNetworkTelevision) (TriNitroToulene)<\/em>, una pieza que pretende convertirse en una cr\u00edtica contra \u00ablos medios de (in)comunicaci\u00f3n y sus procesos de dominaci\u00f3n a escala planetaria\u00bb. De hecho, los primeros sonidos que se escuchan en la obra imitan los de la televisi\u00f3n sin se\u00f1al de emisi\u00f3n: el m\u00e1s puro y primigenio ruido blanco, tal y como explica G\u00f3mez Alemany en el libreto: \u00abun d\u00eda la se\u00f1al de la TV estaba interferida y decid\u00ed grabar las distorsiones que provocaba esta interferencia (no provocada por m\u00ed, sino por la misma TV y sus defectos: met\u00e1fora en s\u00ed misma de la basura que emite la TV). Yo me limit\u00e9 a grabarlo y luego a editarlo. Por ello, concibo este material, en cierta manera, como un ready-made<\/em> (en el sentido de Marcel Duchamp), siendo mi contacto con el material desde una posici\u00f3n distanciada. Grab\u00e9 alrededor de cuatro horas en diversos canales y con ello constru\u00ed un proemio de lo emitido (al estilo del zapping<\/em>) para reflejar la programaci\u00f3n habitual de la TV\u00bb. La pieza fue un encargo del Institut Valenci\u00e0 de Cultura para el Festival Ensems (donde se grab\u00f3 el 6 de mayo de 2019, en el Palau de la M\u00fasica de Valencia) en colaboraci\u00f3n con el Festival Mixtur, y G\u00f3mez Alemany escribi\u00f3 una partitura para un septeto instrumental amplificado de saxof\u00f3n alto, guitarra el\u00e9ctrica, viol\u00edn, violonchelo y tres percusionistas, acompa\u00f1ados por electr\u00f3nica y v\u00eddeo.<\/p>\n Cronol\u00f3gicamente, la \u00faltima pieza es Una tierra fragmentada<\/em>, compuesta para cuatro guitarras el\u00e9ctricas, con afinaciones alteradas y atenta, como explica Paco Ya\u00f1ez, \u00aba la microtonalidad y a la vibraci\u00f3n interna del sonido en cada cuerda, por lo que la influencia de compositores como Giacinto Scelsi, Jos\u00e9 Mar\u00eda S\u00e1nchez-Verd\u00fa o Pierluigi Billone se percibe entre sus pentagramas\u00bb. La obra es una prolongaci\u00f3n de una pieza anterior (Un fragmento de tierra<\/em>, compuesta en 2017, para cuatro guitarras ac\u00fasticas). Esta otra nueva, para guitarras el\u00e9ctricas, se grab\u00f3 en estudio el 30 de julio de 2021, ya que su estreno en Berna, previsto para el 16 de diciembre de 2020, tuvo que ser cancelado por la pandemia de covid-19.<\/p>\n Pese a que, por la formaci\u00f3n reglada de su autor, el disco pertenezca al \u00e1mbito de las vanguardias de la m\u00fasica cl\u00e1sica contempor\u00e1nea, su sonoridad podr\u00eda incluirse tambi\u00e9n, sin ning\u00fan g\u00e9nero de duda, en los terrenos de lo que en el \u00e1mbito del rock se conoce desde los a\u00f1os ochenta como \u00abm\u00fasica industrial\u00bb, o un nuevo g\u00e9nero surgido en los noventa conocido como \u00abjapanoise\u00bb, la vertiente japonesa (la dominante) de las corrientes ruidistas mundiales surgidas a partir de 1990.<\/p>\n The Spanish record label Liquen Records has recently released a new album of works by the young composer Joan G\u00f3mez Alemany (Valencia, 1990), entitled 7 works for chamber music and ensemble<\/em>. These are pieces composed between 2016 and 2020, the result of commissions and residencies in various countries, which made it possible for them to be recorded live by instrumental ensembles of great international prestige. In chronological order: La religi\u00f3n del sonido<\/em> [The Religion of Sound] (2016), was recorded by the Schallfeld Ensemble, conducted by Leonhard Garms; String Quartet No. 1 (\u00e1tanoSonata<\/em>) and Lo duro y lo blando<\/em> [The Hard and the Soft] (2017), performed, respectively, by the Arditti Quartet and the Ensemble Multilat\u00e9rale, conducted by L\u00e9o Warynski; 4 disparates de Goya<\/em> [4 Goya\u2019s Follies] (2018), by the BCN 216 quartet, conducted by Francesc Prat; eros-tans-tngi-ugog-cel\u00f6-esel<\/em> and TV (Television) = TN (TransNational) = TNT (TurnerNetworkTelevision) (TriNitroToulene)<\/em> (2019), performed, respectively, by the Schallfeld Ensemble and Container Ensemble, and Una tierra fragmentada<\/em> [A fragmented land] (2020), by the Shifter Ensemble.<\/p>\n La religi\u00f3n del sonido <\/em>was written for bass flute, bass clarinet, baritone saxophone, violin, cello, double bass, percussion and piano and was recorded live on 17 February 2017 at the Impuls Festival in Graz, Austria. It is a piece that, as the composer himself explains in the libretto -written by Paco Ya\u00f1ez- that accompanies the disc, shows influences \u00abranging from Arabic to Japanese music, passing through Tibetan, as well as the reformulation of the same in the work of composers like Giacinto Scelsi or John Cage [\u2026] formed by sound blocks built in a geometric style, with a rigorous, non-intuitive construction prevailing\u00bb.<\/p>\n The piece for string quartet String Quartet No. 1 (atanoSonata)<\/em> was recorded by the prestigious Arditti Quartet (formation founded by the English violinist Irvine Arditti in 1974) on 7 October 2020 also in Graz, in the former Horsemen’s Barracks of the Austrian city, incorporated in 2007 to the University of Music and Performing Arts of Graz. It is a reinvention of the sonata by reformulating the instrumental timbre in the manner of Helmut Lachenmann, a composer who has defined his compositional style as \u00abinstrumental concrete music\u00bb.<\/p>\n Lo duro y lo blando<\/em> was recorded on 16 July 2017 in the church of Notre-Dame de l’Assomption in the town of Saint-Martin-V\u00e9subie, on the French C\u00f4te d’Azur. It is a piece for bass clarinet, harp, cello and double bass, with influences from French composers Mark Andre, Yann Robin and the saturationist composer Rapha\u00ebl Cendo. G\u00f3mez Alemany explains that the contrast between hard and soft sounds implies \u00abthe use of percussive, precise, marked sounds (such as pizzicati and slaps) as opposed to rough, extended, fragile and shifting sounds (such as scratches, tremolos or tuneless air)\u00bb.<\/p>\n 4 Disparates de Goya<\/em> is a piece for bass clarinet, cello, percussion and piano, which was recorded on 15 May 2018 at the Fundaci\u00f3 Phonos in Barcelona. The recording featured an electronic device that amplified each of the instruments and provided pre-recorded sounds that were spatialised around the audience through four loudspeakers. In the libretto, Paco Ya\u00f1ez explains that the work is directly inspired by Francisco de Goya’s engravings known as Disparates<\/em> or Proverbios<\/em>, specifically four of these engravings, numbers 7, 9, 15 and 18, which correspond to Disparate matrimonial<\/em>, Disparate general<\/em>, Disparate claro <\/em>and Disparate f\u00fanebre<\/em>. The Goyaesque atmosphere becomes \u00aba music that amalgamates a whole underworld between the oneiric and that dream of reason which, as Goya himself stated in the series of Los caprichos<\/em>, produces monsters; here, authentic poetic screams\u00bb. An absolutely sinister and radical sounding piece.<\/p>\n eros-tans-tngi-ugog-cel\u00f6-esel<\/em>, performed by the Schallfeld Ensemble on 18 September 2020 in the baroque hall of the Graz priests’ seminary as part of the Impuls Festival, is a piece for flute, clarinet, piano, violin and cello that takes its title from a text by the Austrian writer and musician Thomas Antonic (founder in 2009 of the transnational and interdisciplinary art collective William S. Burroughs Hurts), in which musical and noisy syllabics follow one another, superimposing noisy layers in which \u00abthe five music stands function as a meta-instrument [\u2026] which gives the score that intense sensation of a living, crackling entity, a musical organism proliferating in different directions\u00bb.<\/p>\n Although it is not the last work, chronologically, the disc ends with TV (Television) = TN (TransNacional) = TNT (TurnerNetworkTelevision) (TriNitroToulene)<\/em>, a piece that aims to become a critique against \u00abthe (in)communication media and their processes of domination on a planetary scale\u00bb. In fact, the first sounds heard in the piece imitate those of television without a broadcast signal: the purest and most primordial white noise, as G\u00f3mez Alemany explains in the libretto: \u00abone day the TV signal was interfered with and I decided to record the distortions caused by this interference (not caused by me, but by the TV itself and its defects: a metaphor in itself of the rubbish that TV broadcasts). I limited myself to recording it and then editing it. Therefore, I conceive this material, in a certain way, as a ready-made (in the sense of Marcel Duchamp), my contact with the material being from a distanced position. I recorded around four hours on different channels and with it I constructed a proem of what was broadcast (in the style of zapping) to reflect the usual TV programming\u00bb. The piece was commissioned by the Institut Valenci\u00e0 de Cultura for the Ensems Festival (where it was recorded on 6 May 2019, at the Palau de la M\u00fasica in Valencia) in collaboration with the Mixtur Festival, and G\u00f3mez Alemany wrote a score for an amplified instrumental septet of alto saxophone, electric guitar, violin, cello and three percussionists, accompanied by electronics and video.<\/p>\n Chronologically, the last piece is Una tierra fragmentada<\/em>, composed for four electric guitars, with altered tunings and attentive, as Paco Ya\u00f1ez explains, \u00abto microtonality and the internal vibration of sound on each string, so that the influence of composers such as Giacinto Scelsi, Jos\u00e9 Mar\u00eda S\u00e1nchez-Verd\u00fa or Pierluigi Billone can be perceived in its staves\u00bb. The work is an extension of a previous piece (Un fragmento de tierra<\/em> [a fragment of land], composed in 2017, for four acoustic guitars). This new one, for electric guitars, was recorded in the studio on 30 July 2021, as its premiere in Bern, scheduled for 16 December 2020, had to be cancelled due to the covid-19 pandemic.<\/p>\n Although, due to its author’s formal training, the album belongs to the avant-garde of contemporary classical music, its sonority could also be included, without any doubt, in the fields of what in the field of rock music has been known since the 1980s as \u00abindustrial music\u00bb, or a new genre that emerged in the 1990s known as \u00abjapanoise\u00bb, the Japanese side (the dominant one) of the worldwide noise music trends that emerged from 1990 onwards.<\/p>\n","protected":false},"excerpt":{"rendered":" Liquen Records publica \u00ab7 works for chamber music and ensemble\u00bb, del compositor valenciano Joan G\u00f3mez Alemany. El sello discogr\u00e1fico valenciano Liquen Records ha publicado recientemente…<\/p>\n","protected":false},"author":1,"featured_media":19317,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,1],"tags":[],"class_list":["post-18224","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nove_disco","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/comments?post=18224"}],"version-history":[{"count":5,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18224\/revisions"}],"predecessor-version":[{"id":19318,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18224\/revisions\/19318"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/media\/19317"}],"wp:attachment":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/media?parent=18224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/categories?post=18224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/tags?post=18224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Liquen Records releases \u00ab7 works for chamber music and ensemble\u00bb, by the young Spanish composer Joan G\u00f3mez Alemany.<\/h2>\n