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Armando SANTIAGO
“Música Intuitiva”
Twelve immediate listening modes for a virtual orchestra (unique MIDI sounds); Created: 2003. Québec (Québec, Canada), Armando Santiago (conception-achievement).
Born in Lisbon (1932), he studied singing, piano and cello at the National Conservatory of Lisbon.
In Italy he studied conducting with Hans Münch and Franco Ferrara, and in Paris he studied with Pierre Schaeffer at the ORTF Research Service. Fellow of the Governments of Portugal and Italy, he worked in Rome with Boris Porena and followed the course of Goffredo Petrassi in the Academy of Santa Cecília, obtaining the diploma of studies of Composition. In 1968 he settled in Canada, where he began teaching in Composition and directed the orchestra class at the Conservatoire de Musique de Trois-Rivières, institution of which he was director. He was also appointed director of the Conservatory of Music of Quebec and responsible for the reforms of the educational programs. With a catalog that covers the solos genres, chamber, orchestral, vocal and electronic, its activity of composition emerges as a way to respond to a personal need, seeking the fulfillment of the detail and the correctness of each attitude. Without losing sight of the teaching of History, for Armando Santiago, composing is not an isolated act of the general problematic of artistic creation. The musical score is thus no more than an 'adjustment', by means of specific codes, and the composer is a filter-maker, sensitive and eclectic. The transformations of language and symbols, the hallmark of dialogue, will then implicitly penetrate by osmosis into the deep structure of the work, and this, apart from the active adoption of immediate last-minute solutions, the systematic refuge of the trajectory of the inheritance, or the modesty of human values.
Composer’s text : “The principle of the principle, the darkness and the light, the life and death of all that exists, the phenomenal energy of the sidereal nuclei, the cannibalism between galaxies, the abysses of infinity, the gravitational whirlwinds, the fate of cosmic reality, everything Huddles and clashes before an imaginary, audacious and privileged witness.
Seduction of the unfathomable, twelve states of immediate listening, independent or juxtaposed, escape the solutions of continuity. Conceived as if it were intended for an orchestra – MIDI sound sources, instrumental freedom, dogmatic neutrality, then becoming a giant and virtual orchestra – the work advances as a long poem of static stanzas where microorganisms, multiplied to infinity, spreads themselves on curvilinear objects with almost incantatory gifts.”
200 copies.
Original price was: 19,00€.12,00€Current price is: 12,00€.
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René BERTHOLO
“Um Argentino No Deserto”
Composer’s text : “This story began when I had to learn something about electronics, in order to make objects with electric movement, which I call “small-scale models”, and which I was making between 1963 and 1973.
In 1973, when tired of repairs I had decided to give up making them, a friend gave me one of those musical boxes with a handle, a drum bristling with prickles and a steel comb. Although I had seen similar ones, that particular one fascinated me and I had an urge to make one like it, but using electronics. That is how my first “Makina” was born – one could describe it as of a digital, programmable type of synthesizer which has gone through different phases since then and taken on various shapes which even today are still ongoing. At first it was a machine which produced sounds, but I inevitably became more and more interested in its musical possibilities.
Not having had any musical training, and knowing little of electronics I wanted to learn by “trial and error” and had doubts as to whether the sounds I produced could be considered as music. For this reason I calledit “Mosik”. I wanted to “play” a different kind of music from what we hear on records and tapes. I am not trying to imitate sounds made by the instruments we are familiar with today, but, if similarity does exist, I am not going to turn my back on it.
This “Makina” which plays by itself is made up two parts: one that allows the programming of a fixed electronic memory which we refer to as the program, and one that plays and contains the “instruments”. Only this part is present when we give a “disconcert” in public.
It is composed of three melodic units, two of them with eight octaves and three voices, and one with eight octaves and two voices. Three units consist of noises made by birds, frogs and other sounds of nature and 3 mini-samplers, two 16 seconds long and two lasting one minute. There are also 3 percussion instruments. The melodic units may produce very different sounds which make it difficult to hear how many are involved. The same could be said about the percussion elements because they have filters which may modify the basic sounds, and so on. The animal noises have twenty four basic sounds. These are modified by variations in the frequency of the oscillation which produces them. Finally there is a unit where the usual commands of a pre-amplifier: flats, sharps, balance and volume are programmed.
The different sounds made by the “instruments” are programmed in this unit to come out up to six loud-speakers, thus enabling the sound to “travel” from one side to another around the room.
Except for the integrated microcircuits, transistors, capacitors, etc, that have to be produced industrially, all the other elements, taht make up this “Makina” were created, designed and built by me.”
Production of the 1st edition, Sirr.ecords 2000.
200 copies.
Original price was: 19,00€.12,00€Current price is: 12,00€.
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Filipe PIRES
“Canto Ecuménico”
“Canto Ecuménico” (1979)
The choice of a religious theme is a pretext for an approximate comparison of authentic traditional music from different cultural areas in many different styles. The similarities and differences are presented in the form of collages and quotations, connected and superimposed on the sequences of sonorous material, vocal and instrumental, drawn exclusively from the musicians.
The most important musical material in this work is drawn from a great variety of countries. Some parts are fragments of Australian Aboriginal rites, joined with rain spirits and mixed with sonorous sounds taken from a funeral ceremony of the ethnic Somba from the North of Benim. Included also, are Buddhist ceremonies from Tibet and Japan, orthodox Christian songs from Armenia and Syria, Islamic rites from Morocco, Syria and Yugoslavia. The jews of Morocco, Yemen and Tunisia are also quoted.
From a formal point of view, the grand lines of the composition come together in a single block, in the middle of which are evolved distinct sections.
“Litania” (1972)
This work was composed while studying with the Groupe de Recherches Musicales, formerly ORTF in Paris. The improvised instrument parts are controlled in the process of the montage. The origin of the principal sound consists of sheets of iron, and metal wires. They are joined at their respective extremities. To produce sounds they are plucked, struck or rubbed, obtaining an extensive range and variety of vibrations. On the other side, the technique is to catch and put in relief a grand number of profiles of variations, ressonances, and multiple details and structures of sound.
Other objects to make sounds, elaborated for manipulation, are inserted into the discourse, upon which there are opposite characters, regular and punctual, that stop and start themselves under a repetitive form.
“Homo Sapiens” (1972)
The human voice, used as the symbol of earth and creation, constitutes the earth of this work. It is the phonetic frame in the context which evolves the sorrow of the movement, and for the elaboration and the fusion of various elements of sound.
Homo Sapiens is a revision of the first part of the ballet Nam Ban, composed in 1970, commissioned by the Portuguese Secretariat for the Exhibition of Osaka. The present version was composed while studying with the Groupe de Recherches Musicales in Paris.
200 copies.
19,00€
In stock
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Cândido LIMA
“Oceanos”
“Oceanos” (1978/79). “Autómatos da Areia” (1978/84), “Lendas de Neptuno” (1987).
Cândido Lima (Viana do Castelo, 1939) is a portuguese composer, pianist, organist, teacher, chronicler, critic, disseminator, essayist and lecturer. He holds a degree in Piano and Composition from the Conservatories of Lisbon and Porto, and a PhD from the Universities of Paris I and Paris IV.
Cândido Lima attended internships and courses in electronic music, computer science and music informatics at Universities of Paris VIII (Vincennes), Paris I-II (Paris-Sorbonne and Pantéon-Sorbonne) (1975/1978), CEMAMu, 1978 and subsequent years, and at IRCAM (1981/1992). He was a fellow of the Gulbenkian Foundation and the Secretary of State for Culture. He created the northern movement of study trips to the Gulbenkian Encounters of Contemporary Music, with the sponsorship of the Calouste Gulbenkian Foundation itself. He founded the Música Nova Group in 1973, presenting for the first time in Portugal composers such as Wilfried Jentzsch, Jean-Battiste Barrière, Kaija Saariaho, Pascal Dusapin and instrumentalists like Stefano Scodanibio. In 1982 he collaborated in the coming to Portugal (Porto, Lisbon) of IRCAM and UPIC-CEMAMu. He has written chamber music, for orchestra, choir and orchestra, choir, solo instruments, for voice and instruments, theater music, electronic music, electroacoustic and computer. His works Oceanos and A-MÈR-ES, composed between 1978 and 1979, introduce, for the first time in Portuguese music, and in the orchestra, computer media and electro-acoustic media.
Composer’s text : “The work was about the oceans to which NASA has paid attention in recent times to Neptune! The proper graphics to illustrate this work would be distant images where there are hypotheses of the existence of oceans, because it was in those oceans, in fact, that the composer thought, hence the original title, canceled to avoid terminological, semantic and scientific controversies!”
Production of the 1st edition (CD), Portugalsom, 1992.
200 copies.
19,00€