Maquialó [II. Liquid Patterns] | Antón Alcalde скачать в хорошем качестве

Maquialó [II. Liquid Patterns] | Antón Alcalde

[DEMO] ABOUT THE PIECE: This composition obtained a bronze medal in the Global Music Awards 2014, San Diego (California, EE. UU). First performance was given by Antón Alcalde and the composer's ensemble, as part of a collaboration between the Council of the Galician Culture altogether with the Australian Embassy, Santiago de Compostela, (Spain) on April 3, 2014. It is affectionately dedicated to Yang Wan Jung. This composition takes its title from the homonymous aboriginal tune transcribed by Rosendo Salvado during his residence in Australia between 1846 and 1900. The composition is subtitled as "mutations on an aboriginal tune". The mutations are cast in the form of a décollage, utilizing the first six measures of Salvado's original transcription as thematic material. These measures are atomized in both intervallic and rhythmical axes. The thematic material is somewhat volatile and is organized into five sections or miniatures that follow one another uninterruptedly. The material starts in a very compact form, and evolves to complete disintegration in the final measures, moving from a system of maximum entropy to a system of minimum entropy. The titles of these miniatures are not programmatic, but rather conceptual in nature. I. Crossing the soundscape. The first metamorphosis - with respect to Rosendo Salvado's transcription - occurs from the very beginning of the piece, using only the first six measures as source material. The formal structure of this first miniature results from the final accumulation, almost in phases, of the atomization of the original materials. Atomization occurs on two divergent acoustic planes: on the first one, the melody is disintegrated in an intervallic way, encoded in the drums of indeterminate tuning (bongos, congas, tom-toms, etc.) that bear all the dramatic gesture of the action. The second plane results in a microtonal cluster generated by the accumulation of the formant pitches of the melody, written in contrast through an ostinato of txalapartas (or tuned woods). Once both processes are assembled, the melody can briefly be heard in its original form through a dialogue of timpani, built over a 'soundscape' introduced by the use of fixed electronics. II. Liquid patterns. A new thematic material is introduced in this second miniature, derived entirely from the aboriginal melody. This material is treated contrapuntally throughout the miniature, by retrograding it, varying it through augmentation and/or diminution of its temporal axis, or by superimposing it with its original form. The electronics engage in a dialogue and integral reaffirmation of the acoustic elements, treating it as a fifth performer. III. Swells, scratches & drones. This miniature explores the roughness and textural granulation obtained by the action of "thimbles" on the heads of the main setup. It explores different techniques for obtaining and/or enhancing the harmonic dimension of indeterminate-pitch membranophones. Formally, the entire movement is based on a rhythmic ostinato, overlaid with improvisations that encourage the reuse of previous materials. The fixed electronics maintain the dialogue already established in the previous movement, but recovering certain atmospheric textures (or soundscapes), accentuating the ethnic and tribal connotations imbricated with the original materials (like a meta-language). IV. Tribal echoes. Taking the rhythmic cell that pervades the original aboriginal melody as a germinating element, it is marked in loops. Starting from a uniform and solid texture, it moves towards a total rhythmic collapse, like an "explosion". The fixed electronics continue the ethnic-tribal exploration of the previous miniature, expanding it and functioning as an "aesthetic link" to the last movement. V. Aboriginal dreams. The final movement works as a reinterpretation of the aboriginal melody, although it remains in its original state. Interventions are exclusively produced in the harmonic, rhythmic, and textural planes. The fixed electronics culminate, following an organic growth, the ethnic-tribal exploration initiated in the third movement, also increasing the ties and interconnections established through the "dialogue" with the acoustic materials. Although the subtitle makes a reference to "aboriginal" music, the tribal connotations of this work are not strictly hermetic. Instead, it incorporates an eclectic synthesis of various ethnic and tribal elements from around the world. For further information: https://www.aalcaldemusic.com/maquialo