Edgar Valcárcel - Composiciones electrónicas para los Andes (1967 - 2006) (Full Album) скачать в хорошем качестве

Edgar Valcárcel - Composiciones electrónicas para los Andes (1967 - 2006) (Full Album)

Edgar Valcárcel - Composiciones electrónicas para los Andes (1967 - 2006) buy https://buhrecords.bandcamp.com/album... Essential Sounds collection BR100 00:00 Invención (1967) 05:21 Flor de Sancayo II: Retablo (1976) 14:37 Zampoña Sónica (1968-2006) 23:33 Canto coral a Túpac Amaru II (1968) A survey of the electronic production of Edgar Valcárcel (Puno, 1932 - Lima, 2010) within the development of contemporary music in Peru. A member of the Generation of the 50s, his work aligns with figures such as César Bolaños and Enrique Pinilla in adopting new musical languages. Trained at the National Conservatory of Music under the guidance of Andrés Sas, Valcárcel continued his education at Hunter College in New York and at CLAEM of the Torcuato Di Tella Institute in Buenos Aires. In these spaces, he studied with Alberto Ginastera, Olivier Messiaen, and Luigi Dallapiccola, incorporating serial structures and sound experimentation. In 1966, with a Guggenheim Foundation scholarship, he joined the Columbia-Princeton Electronic Music Center, where he worked with sound technology tools. Between 1967 and 2006, he developed an electronic repertoire with various approaches. "Invención" (1967), created at Columbia under the supervision of Vladimir Ussachevsky, employs sound manipulation techniques. "Zampoña Sónica" (1968-2006) combines materials from the Andean highlands with electronic elements. "Canto Coral a Túpac Amaru II" (1968) structures fragments of Alejandro Romualdo's poem through projections and magnetic tape. "Flor de Sancayo II: Retablo" (1976), created at the Electronic Music Studio of McGill University, uses interactions between piano and electronic media. CREDITS SIDE A 1.- Invención (1967) for magnetic tape Recorded at the Columbia–Princeton Electronic Music Center, in New York. 2.- Zampoña Sónica (1968-2006) for processed native instruments and magnetic tape (8:56) Tarka and quenacho: Elmer Machicao Live electronic processing of native instruments: Raúl Gómez (Jardín) Recording of the concert held on September 1, 2006, at the Auditorio Los Incas of the Museo de la Nación, in Lima, as part of the concerts of the interdisciplinary exhibition Urbe & Arte: Imaginarios de Lima en transformación, presented by the Wiesse Foundation. Recorded and mixed by Rafo Arbulú. The electronic track was recorded at the Columbia–Princeton Electronic Music Center, in New York in 1968 and revised in 1976 at the McGill Electronic Music Studio, in Montreal, Canada. SIDE B 1.- Flor de Sancayo II: Retablo (1976) for piano and magnetic tape Piano: alcides lanza The electronic track was recorded at the McGill Electronic Music Studio, in Montreal, Canada, and premiered the same year by alcides lanza. This version was recorded on April 2, 1992, at Pollack Hall at McGill, with alcides lanza on piano. This recording is part of the Latin American Electroacoustic Music Collection, created by Ricardo Dal Farra, housed at the Daniel Langlois Foundation for Art, Science, and Technology in Montreal, Canada. 2.- Canto coral a Túpac Amaru II (1968) for choir, percussion, projections, lights, and magnetic tape Electronic track recorded at the Columbia–Princeton Electronic Music Center, in New York in 1968. Canto coral a Túpac Amaru II is composed based on the poem by Alejandro Romualdo, Canto coral a Túpac Amaru, que es la libertad (1958), which was presented as an accompaniment to Valcárcel’s piece in the form of visual poems, created by Romualdo himself. Recording of the premiere in Lima on October 30, 1970, at the Teatro Municipal by the National Symphony Orchestra of Peru. The digitization of the reel tape was carried out in 2006 at the Medialab of Fundación Telefónica by Omar Lavalle. General direction: Carmen Moral Choir direction: Manuel Cuadros Barr Narrator: Alejandro Romualdo Choir: Camerata Vocale Orfeo Lighting: Mario Acha