Has created the record label Creative Sources Recordings in 1999, which mainly concentrates on releasing experimental and electro-acoustic music."-Creative Sources ( ) Music for Dance, Cinema, Video and Performance. The relationship with his instruments is focused in sonic and textural elements.Įlectronic music was an early influence on his approach to violin playing, which challenges traditional romantic concepts of the violin/viola through use of preparations and micro tuning.Īctive in different settings on the Portuguese scene for free improvised music, both as a collaborator and in leading his own groups. His main interest shifted towards contemporary improvised and composed music. "He has been playing the violin for 30 years and in that time has played all genres of music ranging from contemporary music to free jazz and improvised music, live and in the studio. Get additional information at Todd McComb's Jazz Thoughts Now, this is a record of brilliant composers of the moment, of experienced improvisation practitioners who do not need to correct what was left behind because what they did has such a truth and logic / sensitivity that any change would be a crime."-Rui Eduardo Paes, Jazz.pt (translated by Google) In a 10-minute improvisation the composition takes 10 minutes to complete, while a noticed 10-minute composition can take 10 years to write, for the simple fact that what was improvised with the pen is then amended. A big difference exists only in relation to the music that was fixed on a score: what comes on paper is "selective improvisation", as Stravinsky said. In other words, that a situation of integral improvisation also follows organizational, structural and formal principles. Like us listeners, the musicians involved understood a posteriori that, in this recorded live performance (by Miguel Azguime, composer of contemporary music) in November 2019 during Creative Sources Fest, that was exactly what was at stake. And yetÉ And yet, listening to something like ÒMultiformsÓ, from the trio formed by violetist Ernesto Rodrigues with Fred Lonberg-Holm (North American cellist residing in Lisbon) and Rodrigo Pinheiro at the piano, is the form factor that it assaults auditory perceptions - and not necessarily because the title of the album draws our attention to it (Miles Davis once said something like "first play, then give it a name"). The usual definitions of how "the arrangement of the units of rhythm, melody and / or harmony that show repetition or variation", to paraphrase the Wikipedia vulgate, do not seem to fit properly with this type of approach. The reason is understandable: in a song that is spontaneous and intuitive, composed at the time of interpretation, to resort to conventional concepts in a way is to circumscribe what happens to the classic factors of organization of sounds, of structuring, of orchestration. "Throughout the existence of this musical current, which is called Òfree improvisationÓ, the term ÒformÓ has always been avoided to refer to what happens.
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