MEXICO ATEMPORAL contemporary music for Indigenous instruments of Mesoamerica/Mexico and piano forte скачать в хорошем качестве

MEXICO ATEMPORAL contemporary music for Indigenous instruments of Mesoamerica/Mexico and piano forte

MEXICO ATEMPORAL CONTEMPORARY MUSIC DUO Music for piano, indigenous instruments of Mesoamerica and the electronic manipulation of sound "México Atemporal is a series of musical compositions and improvisations that surge from an ongoing exploration of the symbiosis between indigenous instruments of Mexico and Mesoamerica, the pianoforte, and the electronic manipulation of sound in real time. This exploration is guided and based in the study of Mesoamerican codices the Mexica dance tradition, and the study of classical and jazz pianist and composers such as John Cage, Claude Debussy, Mario Ruiz Armengol and Bill Evans. This unique collaboration between Christopher Garcia and Pablo Lenero seeks to intertwine the resonances of the past and present of Mexico." TIEMPO LIBRE ARTE Y CULTURA EN MEXICO CITY MAGAZINE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ INSTRUMENTS OF MESOAMERICA filtered thru EUROPEAN ORIENTED EARS after reading the following a few years ago it inspired me to use these instruments alongside other instruments of different cultures to create a new resonance for (hopefully) a newer world, the current "traditional" practices of playing these instruments continues to exist and this music proves the following as subjectively incorrect “The music of the Aztecs was unworthy of so cultivated a people.They were not acquainted with stringed instruments; those they used were confined to the “huehuetle”, the “teponastle,” trumpets, sea-shells, and flutes - generally made of terra-cotta - which produced shrill sounds....the sound they produced can be imagined; it certainly lacked harmony Drums, flutes, even conch shells accompanied the hymns sung in the temples, which were chanted in a sing-song manner, in a rude, monotonous tune, fatiguing to European ears. But the Aztecs took so much pleasure in them that they frequently sang during entire days. In spite of this taste music is the only art that remained in infancy among them. Bad musicians, the Mexicans. On the other hand, were very skillful in the art of dancing, in which they exercised themselves under the direction of priests from childhood. Their dances, which were of great variety, had different names. They danced in circles, or arranged in files, between which a dancer executed fancy steps. The women often took part in this amusement. For this recreation the nobles put on their most costly clothes, and decked themselves with jewels of gold, of silver, or of feathers.” THE AZTECS/Their History, Manners, and Customs FROM THE FRENCH OF LUCIEN BIART (Published 1887) “From the remaining exemplars of Aztec instruments preserved in the National Museum of Mexico, we may infer that the music the people during the pre-Conquest era was as barbarous and harsh as were the ceremonies at which their music was heard…The conch shell, the Mixtecan tun, the teponaztli, the chicahuaztli, the sonaja, the Zapotec chirimia and the Yaqui tambor, are not instruments capable of producing either alone, or in conjunction with each other, a grateful harmony: nor can the sound of any of them induce a spiritual response that is in harmony with presently accepted standards of behavior" EL ARTE MUSICAL EN MEXICO Published under the official Direction in General de las Bellas Arte Alba Herrera y Ogazon (Published 1917) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ REVIEWS "When I met Christopher García a couple of years ago, as he rehearsed and played one of his pieces for ancestral Mexican percussion instruments and wind quintet, I rediscovered something I had somehow lost track of throughout the years: a musician rooted in the rituals of magical performance. Beyond the external aspects of power, virtuosity or any other relative term of comparison, there was something unique coming across, akin to a religious experience, through his beats and rhythms. I think Christopher is definitely on the path of connecting the objects he strikes or shakes with the deeper currents of the soul. That's what I felt when he played; he's not only resuscitating old instruments, he's on a different search." COMPOSER PAUL DESENNE "Christopher Garcia is a critically acclaimed as a composer, and virtuosic improviser on instruments not usually associated with just one musician ..... with performances in 28 countries on 5 continents." ATENCION SAN MIGUEL ALLENDE Pablo Lenero Archer, is a Mexican composer, pianist and conductor who currently resides in Los Angeles, California. Through his studies of the music of Bach, Beethoven Cage, Armengol, Debussy and Bill Evans. Lenero explores the integration between classical music and the folkloric and indigenous traditions of Mexico and the Americas. In his compositions, Lenero experiments with the use of different materials and media as part of the musical creation process, such as the use of paints and colors to create scores and improvisation eagles as well as the use of physical space as a means of musical expression." DISCOVERSMA.COM