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21067-2, CD, $14.00
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Jorge Antunes
In Defense Of The Machine
CANÇÃO DA PAZ (1965) for baritone voice & tape; INSUBSTITUÍVEL 2ª (1967) for cello & tape; INVOCAÇÃO EM DEFESA DA MÁQUINA (1968) for 4 percussionists, 4 metronomes & tape; MIXOLYDIA (1995) for theremin & tape; MIRÓ ESCUCHÓ MIRÓ (1998) for amplified piano & tape; RITUEL VIOLET (1999) for tenor sax & tape; TOCCATA IRISÉE (2003) for marimba, cuica & tape
This new cd by Brazilian composer Jorge Antunes, one of the pioneers of
electronic music in South America consists of 7 works for instruments
and tape, composed between 1965 and 2003.
Canção da Paz was composed in 1965, and is one of
the first pieces in Brazilian music history to use a traditional
instrument accompanied by pre-recorded electronic sounds. Insubstituível 2ª
was written for the cellist Iberê Gomes Grosso (1905-1983). Antunes was
an early pioneer in electronic music. The piece, almost entirely
written in five beats time signature, has always been well received
despite its use of electronic, unusual sounds. In Invocação em defesa da máquina’s
first movement, the pre-recorded electronic sounds form a backdrop on
which the percussion instruments perform dialogued polyrhythms. In the
second movement the four percussionists act as soloists, without the
intervention of electronic sounds: this is the reflection of the musician on the theme. The third movement is the consecration of pure electronic music: Music humanizes the machine.
The percussionists remain silent, and the soloist is a machine: the
equipment that reproduces the pre-recorded electronic sounds. Mixolydia was composed for theremin player Lydia Kavina. The melodic material in Mixolydia
is completely based on the scale ti-do-re-mi-fa-so-la-ti, which is
precisely the Greek Mixolydian scale used in the fourth century BC. For
Miró Escuchó Miró Antunes catalogued and organized
Miro’s typology of signs to transform it into a collection of sound
objects which are juxtaposed by the piano soloist on the
electro-acoustical construction. The piano participates in different
ways in the three sections of the work. In Rituel Violet
Antunes used his theory of relationship between sounds and colors to
construct a background of electronic sustained pitches. The saxophone
soloist transforms these virtual trajectories in sounds and in real
gestures on stage. The sound material includes concrete sounds produced
directly on the strings of a piano and also electronic and computer
generated sounds. Toccata Irisée is written for a percussionist
who plays marimba and cuíca (Brazilian friction drum with a stick). The
basic sound material comprises electronic sounds and cuíca sounds. The
percussionist’s virtuosity is the strong element in the work. In
playing the marimba, the interpreter uses as many as four different
drumsticks, two in each hand, to execute melodies accompanied by chords
with three and four sounds. The pre-recorded electronic sounds form at
once both a backdrop and a support base, upon which the marimba and the
cuíca parade expressive syntaxes of musical objects. At the same time
the electronic sounds act as references establishing a constant
dialogue in complex synchrony with the live performer.
Jorge Antunes was born in 1942, in Rio de Janeiro, where he studied
violin, composition and conducting. He also majored in physics at the
National Faculty of Philosophy. In 1961, after constructing by himself
several generators, filters, modulators and other electronic equipment,
Antunes founded the Chromo-Music Research Studio, and has since been
recognized as the originator of electronic music in Brazil. In 1965 he
began to research the correspondences between sound and color, and
wrote works that he called Cromoplastofonias, for orchestras,
magnetic tapes, and lights, also using the senses of smell, taste and
touch. Between 1969 and 1973 he won scholarships to study in Buenos
Aires, Utrecht and Paris under Alberto Ginastera, Gerardo Gandini,
Francisco Kroepfl, Umberto Eco, Luis De Pablo, Gottfried Michael
Koenig, Pierre Schaeffer and François Bayle. Antunes is professor of
composition at the University of Brasilia and is president of the
Brazilian Society for Electroacoustic Music. Reviews
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Composer(s) |
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21090
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Enzo Minarelli |
21089
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Aliona Yurtsevich |
21088
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Yiorgis Sakellariou |
21087
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id m theft able |
21086
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Kasper T. Toeplitz |
21085
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Tom Hamilton |
21084
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David First |
21083
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Tomomi Adachi / Jaap Blonk / Owen F. Smith / Duane
Ingalls |
21082
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Marta Sainz &
If, Bwana |
| 21081 |
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Aliona Yurtsevich |
21080
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If, Bwana |
21079
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Ulrich Krieger |
21078
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Triple Point |
21077
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Robin Hayward |
21076
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Ron Nagorcka |
21075
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Secluded Bronte |
21074
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David Rosenboom |
21073
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Peter Batchelor |
| 21072 |
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Alvin Lucier |
| 21071 |
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Lou Cohen |
| 21070 |
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Brian Chase |
| 21069 |
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Jerry Hunt |
| 21068 |
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If, Bwana |
| 21067 |
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Jorge Antunes |
| 21066 |
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Enzo Minarelli |
| 21065 |
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Tensions At The Vanguard |
| 21064 |
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Frances White |
| 21063 |
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Noah Creshevsky |
| 21062 |
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If,Bwana/Trio Scordatura |
| 21061 |
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Nate Wooley |
| 21060 |
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Leo Kupper |
| 21059 |
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Pauline Oliveros/ Francisco López/Doug Van Nort/Jonas
Braasch |
| 21058 |
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Philip Corner |
| 21057 |
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Alvin Lucier |
| 21056 |
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Dimitri Voudouris |
| 21055 |
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Birds + Machines |
| 21054 |
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Kiva |
| 21053 |
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César Bolaños |
| 21052 |
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Lionel Marchetti & Olivier Capparos |
| 21051 |
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Tom Hamilton/
Bruce Eisenbeil |
| 21050 |
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Source Records 1-6 |
| 21049 |
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Noah Creshevsky/ If,Bwana |
| 21048 |
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Simon Wickham-Smith |
| 21047 |
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Kenneth Gaburo |
| 21046 |
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If, Bwana (Al Margolis) |
| 21045 |
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Annea Lockwood |
| 21044 |
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Felix Werder |
| 21043 |
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Dimitri Voudouris |
| 21042 |
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Nick Didkovsky |
| 21041 |
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Montreal Sound Matter |
| 21040 |
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Anla Courtis |
| 21039 |
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Crawling with Tarts |
| 21038 |
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If, Bwana (Al Margolis) |
| 21037 |
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Hans Otte |
| 21036 |
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DIY Canons |
| 21035 |
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Band/Myers |
| 21034 |
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Chris Brown |
| 21033 |
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Tom Johnson |
| 21032 |
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Roger Reynolds |
| 21031 |
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Trios - Collaboration |
| 21030 |
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Beth Anderson |
| 21029 |
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Hamilton, Silverton, Margolis |
| 21028 |
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Warren Burt |
| 21027 |
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Jorge Antunes |
| 21026 |
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David Dunn |
| 21025 |
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Roger Reynolds |
| 21024 |
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If, Bwana (Al Margolis) |
| 21023 |
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Pauline Oliveros |
| 21022 |
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David Rosenboom |
| 21021 |
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Ross Bolleter |
| 21020 |
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Kenneth Gaburo |
| 21019 |
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If, Bwana (Al Margolis) |
| 21018 |
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Leo Kupper |
| 21017 |
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Robert Rutman |
| 21016 |
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Matthew Ostrowski |
| 21015 |
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various |
| 21014 |
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Rune Linblad |
| 21013 |
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If, Bwana (Al Margolis) |
| 21012 |
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Pauline Oliveros |
| 21011 |
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Rune Linblad |
| 21010 |
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If, Bwana (Al Margolis) |
| 21009 |
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Leo Kupper |
| 21008 |
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various |
| 21007 |
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If, Bwana (Al Margolis) |
| 21006 |
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Trigger |
| 21005 |
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Big City Orchestra |
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| IB |
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If,Bwana |
| FPM |
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Frog Peak Music |
| CUE |
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C.U.E. Records |
| SOP |
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Sound of Pig Cassettes |
| ANTS |
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Ants (Italian Label) |
| ANIMUL |
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Ned Rothenberg |
| HOMLER |
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Anna Homler |
| OAKSMUS |
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oaksmus (German Label) |
| GD STEREO |
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Geoff Dugan |
| ANOMALOUS |
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Anomalous Records |
| NONSEQUITUR |
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Nonsequitur |
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