EL SINDICATO DE ALTAVOCES

Director: Pablo FREDES

Program

Ilaria Sartori/Eloïsa Matheu: Aucelles

Joan Anton  Moreno: Texturas III

Jordi Rossinyol: Endins, el mar batega

Albert Llanas: Formants B

Alejandro Martínez: Canción de Otoño

Pablo Fredes: Rec-REC (Los otros)

About the composers and the works:

Eloïsa Matheu

Graduated in Biology from the UB (1979), she soon became interested in Bioacoustics and the recording of the sounds of nature. In the 90s he published the first sound guides for consulting the Iberian fauna of the country on CD. He has given numerous workshops and auditions on the sound of nature, and regularly collaborates with radio programs of naturalist dissemination. She currently collaborates with the Natural Sciences Museum of Barcelona digitizing and dynamizing the historical collection of sounds.

Ilaria Sartori

Teacher, researcher, disseminator, creator in the field of sound, silence and listening. PhD in History and analysis of musical cultures (2008) for a long time she has been dedicated to the study and dissemination of intangible heritage, specializing in ethnomusicology, sound studies, maps and sound arts. Promotes listening education through interdisciplinary, creative and participatory activities. Since 2019 he has been teaching at the Department of Cultural and Musical Studies of the ESMUC. Since 2013 she collaborates with Eloisa Matheu in bioacoustics, sound mapping and research activities.

Aucelles (o aus: elles)

A piece that gives value to the song of female birds. Contrary to widespread beliefs, the song of females exists in a large number of bird species. The birds sing: some act as an echo or counterpoint to the singing of their partners, others sing their own song alone. Until recent times, the song of females was very little known. With the growth of gender studies and bioacoustics, documentation work has begun to be focused on their songs. This piece is a multifocal divertimento that reveals and combines a variety of songs of female birds of different species, recorded by different people, at various times and in different parts of the world.

Joan Antón Moreno Sánchez

Composer and pedagogue. Studied composition, analysis and techniques of electroacoustic music with Gabriel Brncic. In addition to attending different courses and seminars with Lluís Callejo, Luigi Nono, Horacio Vaggione, Dieter Schnabel. In 1991 he was commissioned by the Cuenca Electroacoustic Music Center “El hombre sin atributos” and “Buenache” He has composed music for several films.

Textures III

Progressively converting into Music the sound elements that nature gives us is the best way to enrich musical creation and also man. It must be said that an instrument made of bamboo cane is as natural as a traditional one, or a sinusoid generator. The piece is made by constructing sounds of different categories: Natural sounds, traditional instruments, and electronics worked individually and generating a color palette that allows painting a sound picture.

Jordi Rossinyol

Studied with Gabriel Brncic. Courses with Luigi Nono, Lluís Callejo, Francisco Kroepfl, Gerardo Gandini, Andrés Lewin-Richter, Helmut Lachenmann, Walter Zimmermann. Guitarist with the mezzo-soprano Anna Ricci, director of the instrumental group Vol ad Libitum He has conducted several chamber operas

Endins, el mar batega

All sound material comes from the recording of water, transformed by filtering and transposition. It is as if it were a sculpture: due to the working method used, the density that is becoming clearer, the superimposition and the emptying as essential tools. The work occurs between matter and sense (two categories that we can symbolize such as stone, water in this case, and poetry, respectively). In this work, the relationships (between matter and poetics, which would not originally be compatible) go through bridges and links that overlap. We could say that if the multiple faces of the prism are linked, if they finally meet and are filled, the solution will have been satisfactory.

Albert Llanas

Studied at the Conservatorio Superior Municipal de Música de Barcelona, and later composition with Josep Soler and Franco Donatoni, and also worked on electroacoustic music techniques under the supervision of Andrés Lewin-Richter. Has taught at the Conservatories of Tarragona, Vilaseca, Badalona and Zaragoza and at the Institut del Teatre, and ultimately at the Municipal Conservatory of Barcelona being its director 2008-2019.

Formants B 

A pure electroacoustic work of symphonic conception, which explores, within the acoustic space, the set of sound densities that are obtained by subjecting sounds of homogeneous spectral density to various filters and types of processing. These sounds have been obtained mainly through additive synthesis procedures with the computer.

Alejandro Martínez Figuerola

Degree in aesthetics, science and technology of the arts from the University Paris VIII and in electroacoustic composition from the GMEB and the École de Musique de Bourges. Electroacoustic composition studies with Gabriel Brnčić at Phonos. Lecturer at the University  of Arts and Design of Barcelona. Head of the Department of Nature Sound Conservation at the Natural Sciences Museum of Barcelona

Canción de otoño

Starting with a synthesized hurdy-gurdy come the first notes with which the work begins, which contextualizes the tragic moment of F.G. Lorca; played by Elsa Justel in 1986. Composed at the Grourpe de Musique Experimentale de Bourges. “No salgas, paloma, al campo mira que soy cazador y si te tiro y te mato para mí…”

Pablo Fredes

Studied music at the Catholic University of Valparaíso, later in Paris with the Chilean composer Sergio Ortega and electroacoustic music at ENMP, Paris. In 2006 he began his residence in Barcelona, studying composition at the Master of "Musical Composition and Contemporary Technologies" (DCMT) at the Pompeu Fabra University, directed by Gabriel Brncic. He has taught at the DCMT. He runs El Sindicato de Altavoces, a acousmatic music concert series at Phonos.

Rec-REC (The others)

...always record what is beyond, put the microphone beyond and limit the click of the recorder between one and the others.

The idea of ​​making this piece started from a recording of a Tuvan diphonic chant. I had the intention to start with it, then I felt it for the central part; Or better at the end! ...when I realized I had already finished the piece. However, full of imagination, I capture its ghostly and ethereal world. This piece represents different pressures in time, like tubes of times that create a big pipe in total time. The space is also treated in the same way, like a tunnel. Everything in the background is a medium associated between these two dimensions where I have tried to draw a gesture from the deepest to the highest. Everything becomes saturated, disperses and re-associates, like air passing through a pipe. It resonates, or not.

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