A concert
"New Quays" - pianist Ian Pace and performers from Trinity College of Music
To mention in particular:
The world premiere of Páramo de voces by the Mexican composer Hilda Paredes. A mixture of piano and electronics (the latter performed by the composer), the piano appearing sometimes to respond to the electronics and sometimes vice versa, the electronics seeming to react and to explore the resonances of the piano part (in fact, when I asked afterwards, the pianist was always fitting with the pre-recorded CD). An interesting sound-world: the composer said during the discussion that her "music itself makes the decisions about where to go: there is no need for libretto or text". The piece was inspired bywritings by Juan Rulfo: Paredes told us about this fascinating-sounding writer whose work is, I fear, inaccessible to non-Spanish-speakers like me.
An amazingly dense and complicatedpiece by Xenakis, played with enormous virtuosity.
Snow-Moon-Flowers by Peter Sculthorpe, miniatures played by Lara Griffin. Spare and evocative, exploring "how by moonlight sometimes flowers are snow and sometimes snow can be flowers" (my memory of how the piece was introduced).
Network Busy by Joseph Hood and Ayanna Witter-Johnson, in which the audience were invited to use their mobiles to call or text phones placed across the piano strings as the piece developed.
Listening is the refusal of habit
(Helmut Lachenmann, quoted by Ian Pace during the post-concert discussion)
To mention in particular:
The world premiere of Páramo de voces by the Mexican composer Hilda Paredes. A mixture of piano and electronics (the latter performed by the composer), the piano appearing sometimes to respond to the electronics and sometimes vice versa, the electronics seeming to react and to explore the resonances of the piano part (in fact, when I asked afterwards, the pianist was always fitting with the pre-recorded CD). An interesting sound-world: the composer said during the discussion that her "music itself makes the decisions about where to go: there is no need for libretto or text". The piece was inspired bywritings by Juan Rulfo: Paredes told us about this fascinating-sounding writer whose work is, I fear, inaccessible to non-Spanish-speakers like me.
An amazingly dense and complicatedpiece by Xenakis, played with enormous virtuosity.
Snow-Moon-Flowers by Peter Sculthorpe, miniatures played by Lara Griffin. Spare and evocative, exploring "how by moonlight sometimes flowers are snow and sometimes snow can be flowers" (my memory of how the piece was introduced).
Network Busy by Joseph Hood and Ayanna Witter-Johnson, in which the audience were invited to use their mobiles to call or text phones placed across the piano strings as the piece developed.
Listening is the refusal of habit
(Helmut Lachenmann, quoted by Ian Pace during the post-concert discussion)
posted by Tony at 2:19 AM
4 Comments:
Pedro Páramo is one of the most important and beautiful novels written in Spanish in the 20th century. Juan Rulfo wrote only two works: this novel and a set of short stories of powerful narrative and extraordinary beauty.
There should be an English translation! I know of a German one done with amazing success by a brilliant translator.
There is an English translation. So it's going onto my list of books to buy (if I ever buy any more books)
Don't! If you learn Spanish I will lend it to you! And it is better to read the original!
"If" is a very big word.
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