«Ensayos sobre Música Esporádica» means «Essays on Sporadic Music». This EP… Read Full Bio ↴«Ensayos sobre Música Esporádica» means «Essays on Sporadic Music».
This EP was composed and recorded along a month between the last week of
November and December of 1999, being the first serious recording that
José Travieso made. Then very interested in the avant-garde music, the
artist conceived some intuitives and experimental ideas of composition
only possible to use working directly on the musical language and the
partiture. All these ideas received the name of «sporadic music» and
they were captured in the practice through the three pieces here
recorded.
The theory and musical explication of the «sporadic music»
would be very complex and difficult, but just in a few of words we can
say this is a collection of open technics of composition where
the different musical elements (specially rhythm, melody, tonality,
modality and structure) are affected by a constant process
of transmutation and instability, changing everytime by means of
harmonic relations, games of additions and substractions, retrograde
expositions of previous schemes, logical transformations, sudden
ruptures and a few more of crazy things like these. The composition
based in «sporadic music» is a very creative and unpredictable work,
creating rules, use them and later break them at all to do and mix
new rules and so on. The result is minimalist and reiterative,
expresionist and unstable, surrealist sometimes, always interesting...
After these three studies recorded in this EP, José Travieso has
used his "sporadic technics" inside other pieces (as «The Game of the
Attractions» or «Rain of May», in this one just for an only section),
but he has not worked again in them as directly as here.
The EP begins with «Esquizofrenia sobre un Vals Postmoderno»
(«Schizophrenia on a Post-Modern Waltz»), the first "sporadic" essay.
Written and recorded in the last week of November of 1999, this piece
keeps the first explorations and experiments with the sporadic
conceptions, resulting an expressionist, reiterative and hypnotic piece,
but full of surprising and unexpected changes... The "sporadic" ideas
weren't only used to work on usual musical elements (melody, metric
and so on), but also on the own style of composition. So, the first
section is minimalist, the second section is chromatist, later
expresionist, etc., finishing with ambient music... The last section is
one of the most interesting experiments with «sporadic music». For
example in its beginning, where in each repetition of the phrase, this
is changed by just a note, transformating progressively a phrase to
another one. Next the change is each four repetitions and this is on
the next basic element of the melody: the "semi-motive". All these
changes drive to just the first phrase of the piece, the beginning
of everything in it...
The second essay or study is titled «El Loco y la Niña» («The Mad Man
and the Little Girl»). Written and recorded in December of 1999, in this
case the ideas of sporadic composition rides along two each other
dependent musical lines (the "left hand - the mad man" and the "right
hand - the little girl"), being the sporadic speech based specially in
the (sporadic) musical development of short motives and themes. «The
Mad Man and the Little Girl» -based in movements of minor chords and
with a really complex and interesting micro-structure (the most
exquisite and fascinating piece of the three essays)- is a dramatic
and hiperactive theme, mix of violence and very delicate care...
The last one of the essays is called «Dibujando Infinitos Ciclos que
Van y Vienen en el Tiempo» («Drawing Infinite Cycles Going and Coming
in Time»). It's a Philip Glass' «Modern Love Waltz» (1978) cover track.
Reconstructed and recorded in December 28th of 1999, it's a "sporadic,
retrogade and infinite" version of the Philip Glass' composition.
First one you will listen the piece to "go" in direct or normal sense
(adaptation of the mean original exposition, until 2:30 minutes aprox.),
next you will listen it to "come" in inverse or retrogade sense
(backwards), returning so until the beginning for starting and ending
again and forever! The track shows two complete expositions
(going-coming and going-coming), but the idea is to repeat the track
at infinitum in your hi-fi system (if you want ;-).
«Essays on Sporadic Music», not more, not less.
This EP was composed and recorded along a month between the last week of
November and December of 1999, being the first serious recording that
José Travieso made. Then very interested in the avant-garde music, the
artist conceived some intuitives and experimental ideas of composition
only possible to use working directly on the musical language and the
partiture. All these ideas received the name of «sporadic music» and
they were captured in the practice through the three pieces here
recorded.
The theory and musical explication of the «sporadic music»
would be very complex and difficult, but just in a few of words we can
say this is a collection of open technics of composition where
the different musical elements (specially rhythm, melody, tonality,
modality and structure) are affected by a constant process
of transmutation and instability, changing everytime by means of
harmonic relations, games of additions and substractions, retrograde
expositions of previous schemes, logical transformations, sudden
ruptures and a few more of crazy things like these. The composition
based in «sporadic music» is a very creative and unpredictable work,
creating rules, use them and later break them at all to do and mix
new rules and so on. The result is minimalist and reiterative,
expresionist and unstable, surrealist sometimes, always interesting...
After these three studies recorded in this EP, José Travieso has
used his "sporadic technics" inside other pieces (as «The Game of the
Attractions» or «Rain of May», in this one just for an only section),
but he has not worked again in them as directly as here.
The EP begins with «Esquizofrenia sobre un Vals Postmoderno»
(«Schizophrenia on a Post-Modern Waltz»), the first "sporadic" essay.
Written and recorded in the last week of November of 1999, this piece
keeps the first explorations and experiments with the sporadic
conceptions, resulting an expressionist, reiterative and hypnotic piece,
but full of surprising and unexpected changes... The "sporadic" ideas
weren't only used to work on usual musical elements (melody, metric
and so on), but also on the own style of composition. So, the first
section is minimalist, the second section is chromatist, later
expresionist, etc., finishing with ambient music... The last section is
one of the most interesting experiments with «sporadic music». For
example in its beginning, where in each repetition of the phrase, this
is changed by just a note, transformating progressively a phrase to
another one. Next the change is each four repetitions and this is on
the next basic element of the melody: the "semi-motive". All these
changes drive to just the first phrase of the piece, the beginning
of everything in it...
The second essay or study is titled «El Loco y la Niña» («The Mad Man
and the Little Girl»). Written and recorded in December of 1999, in this
case the ideas of sporadic composition rides along two each other
dependent musical lines (the "left hand - the mad man" and the "right
hand - the little girl"), being the sporadic speech based specially in
the (sporadic) musical development of short motives and themes. «The
Mad Man and the Little Girl» -based in movements of minor chords and
with a really complex and interesting micro-structure (the most
exquisite and fascinating piece of the three essays)- is a dramatic
and hiperactive theme, mix of violence and very delicate care...
The last one of the essays is called «Dibujando Infinitos Ciclos que
Van y Vienen en el Tiempo» («Drawing Infinite Cycles Going and Coming
in Time»). It's a Philip Glass' «Modern Love Waltz» (1978) cover track.
Reconstructed and recorded in December 28th of 1999, it's a "sporadic,
retrogade and infinite" version of the Philip Glass' composition.
First one you will listen the piece to "go" in direct or normal sense
(adaptation of the mean original exposition, until 2:30 minutes aprox.),
next you will listen it to "come" in inverse or retrogade sense
(backwards), returning so until the beginning for starting and ending
again and forever! The track shows two complete expositions
(going-coming and going-coming), but the idea is to repeat the track
at infinitum in your hi-fi system (if you want ;-).
«Essays on Sporadic Music», not more, not less.
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