{"id":3058,"date":"2010-10-15T15:32:43","date_gmt":"2010-10-15T15:32:43","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3058"},"modified":"2022-11-19T15:34:15","modified_gmt":"2022-11-19T15:34:15","slug":"juan-jose-barcenas-alejandro-castanos-georgina-derbez-roque-arturo-fuentes-aleyda-moreno-gabriela-ortiz-pasajes-mexico","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/juan-jose-barcenas-alejandro-castanos-georgina-derbez-roque-arturo-fuentes-aleyda-moreno-gabriela-ortiz-pasajes-mexico\/","title":{"rendered":"Juan Jos\u00e9 B\u00e1rcenas, Alejandro Casta\u00f1os, Georgina Derbez Roque, Arturo Fuentes, Aleyda Moreno, Gabriela: Ortiz Pasajes – M\u00e9xico"},"content":{"rendered":"

Infotext:<\/p>\n

PASSAGEN \u2013 MEXIKO<\/b><\/p>\n

In Mexiko, einer alten Kulturnation, die sich in der Tradition pr\u00e4kolumbianischer Hochkulturen und des kolonialspanischen Erbes sieht, flie\u00dfen verschiedene Kulturen, soziale Welten, Sprachen und Traditionen ineinander. 2010 feiert Mexiko das \u00bbBicentenario\u00ab, den Jahrestag, der an die mexikanische Unabh\u00e4ngigkeit und Revolution erinnert. Geschichte wie Gegenwart hinterlassen Spuren, und das ensemble Int\u00e9grales ist hiernach auf die Suche gegangen.<\/p>\n

Das Ensemble zielt darauf ab, \u00e4sthe-tische Vorurteile abzubauen und den Stimmen unterschiedlicher Geisteshaltungen Geh\u00f6r zu verschaffen. Kriterium bei der Auswahl der portr\u00e4tierten Komponisten war neben Ausdrucksst\u00e4rke und Handwerk vor allem die Sinnlichkeit ihrer Musik. Das ensemble Int\u00e9grales vergab hierzu gemeinsam mit dem Deutschlandfunk und dem Netzwerk Neue Musik KLANG! Hamburg vier Kompositionsauftr\u00e4ge; uraufgef\u00fchrt wurden sie im Rahmen des K\u00f6lner FORUM NEUER MUSIK \u00bbLa otra Am\u00e9rica\u00ab im April 2009.<\/p>\n

Die humorvollen bzw. spirituellen Konzepte eines Alejandro Casta\u00f1os oder einer Aleyda Moreno vermitteln ein Bild der jungen Generation, die eigene, individuelle Wege geht, w\u00e4hrend eine Komponistin wie Gabriela Ortiz, die mitten in der Bl\u00fcte ihrer Karriere steht, in der klassischen Moderne zu orten ist. Juan Jos\u00e9 B\u00e1rcenas schreibt zeitkritisch mit mexikanischem Sujet, w\u00e4hrend Georgina Derbez Roque in ihrer Komposition an europ\u00e4ische Kulturgeschichte ankn\u00fcpft.<\/p>\n

Dass Europa und Mexiko offensichtlich noch immer eine Tangente f\u00fcr die Kulturschaffenden Mexikos bilden, zeigt sich besonders deutlich bei Arturo Fuentes, in dessen Musik seine Zeit in Paris deutlich mitschwingt. Es sind die J\u00fcngsten, B\u00e1rcenas und Moreno, die diese Tradition in Frage stellen und sich bewusst und ausdrucksstark mexikanischen Themen und Inhalten zuwenden.<\/p>\n

Programm:<\/p>\n

Gabriela Ortiz<\/a><\/b>\u00a0(*1964)
\n[01]\u00a0Trifolium<\/b>\u00a0(2005) 12:52
\nfor violin, violoncello and piano<\/p>\n

Arturo Fuentes<\/a><\/b>\u00a0(*1975)
\n[02]\u00a0Lawine<\/b>\u00a0(2009) 09:33
\nfor viola and pre-recorded CD<\/p>\n

Alejandro Casta\u00f1os<\/a><\/b>\u00a0(*1978)
\n[03]\u00a0Intersecciones<\/b>\u00a0(2009) 12:19
\nfor violin, alto saxophone, percussion and electronics<\/p>\n

Georgina Derbez Roque<\/a><\/b>\u00a0(*1968)
\n[04]\u00a0Non pi\u00f9 infelice<\/b>\u00a0(2009) 10:26
\nfor violin, violoncello, tenor saxophone and percussion<\/p>\n

Juan Jos\u00e9 B\u00e1rcenas<\/a><\/b>\u00a0(*1982)
\n[05]\u00a0Un Rencor Vivo<\/b>\u00a0(2008) 06:27
\nfor electric violin, violoncello, tenor saxophone, percussion and electronics<\/p>\n

Aleyda Moreno<\/a><\/b>\u00a0(*1982)
\n[06]\u00a0Night Music<\/b>\u00a0(2009) 16:10
\nfor electric violin, alto saxophone, piano, percussion,
\npre-recorded CD and live electronics<\/p>\n

total time: 67:47<\/p>\n

ensemble Int\u00e9grales<\/a><\/b>
\nBarbara L\u00fcneburg, violin\/electric violin\/viola
\nSonja Lena Schmid, violoncello
\nNinon Gloger, piano
\nBurkhard Friedrich, saxophones
\nSlavik Stakhov, percussion
\nHenry Vega, live electronics<\/p>\n

Pressestimmen:<\/p>\n


\n14.09.2011<\/p>\n

This CD consists of six compositions by six Mexican composers each of whom is pictured within the attractive booklet. Six members of Ensemble Int\u00e9grales are pictured on the cardboard casing. So the presentation is pleasing and indeed quite lavish. The notes on all of the pieces are rather brief. That may be good or bad depending on your view, but for me a touch more information about the music is, I feel, always helpful. But what about the music? We’ll take the pieces in the order presented.<\/p>\n

Gabriela Ortiz is in her late 30s and now lives in the USA. Her\u00a0Trifolium<\/i>\u00a0is for a conventional piano trio format. This work is in a clear ternary form in which the ideas nicely overlap and make a satisfactory structure. The essay says that the composer draws upon the tonality and rhythm of „salon music“ in her native Mexico whilst „blending influences of the Western avant-garde“. The outer sections are lively and exciting, the inner, quiet and nocturnal, and a happy contrast, which works well.<\/p>\n

Arturo Fuentes studied with Ferneyhough and Donatoni. His\u00a0Lawine<\/i>\u00a0(Avalanche) inhabits a hinterland between what might be viola sounds and electronic ones. The former are transformed electronically as if in a diaologue with the pre-recorded CD. Apparently the composer is „concerned with probing the spiritual and philosophical dimensions“ between computer music and philosophy. The frenetic sound-world is indeed an avalanche of coruscating, scratching and clamour and is curiously fascinating. At less than ten minutes it makes its point with compact bravura.<\/p>\n

In Alejandro Casta\u00f1os’s\u00a0Intersecciones<\/i>\u00a0there are, say the notes, four protagonists. The violin, which has an extraordinary cadenza at about nine minutes in, the cello and the saxophone. The electronics, „with the wink of an eye“ can alter the texture and colour of a work which „juxtaposes static and sharply contrasted blocks of sound“. Listen for instance to the violent opening followed by the utterly still consequent minute or so. This is a seriously avant-garde work with an element of modern jazz and a witty allegro section in which vocal noises are inserted.<\/p>\n

We have already noted how these young composers use Western tradition to suit their own artistic aims. Georgina Roque, who also studied with Donatoni, describes herself as a ‚musical archaeologist‘. She deliberately bases her work\u00a0Non piu infelice<\/i>\u00a0on a piece from the late 14th Century the period of the ‚ars subtillior‘ by the little known Paolo da Firenze. At no point does the original really rear up in front of you but occasional phrases seem to relate to medieval cadences and melodic contours. It is gently appealing and even nostalgic music with its use of saxophone and wispy percussion. I would like to hear more of her work.<\/p>\n

Juan Jos\u00e9 B\u00e1rcenos has worked mainly in the multi-media arts-world. As a video artist he is a member of a group called „Colectivo Kaoss“ who work in experimental electronic music. His\u00a0Un Rencor Vivo<\/i>\u00a0(A lively rancour) attempts to „find musical parallels for Paradise, hell and Purgatory as found in Juan Rulfo’s novel Pedro P\u00e1ramo, in which he sees a reflection of present-day Mexican Society“. Sadly I can only detect Hell in these wild, scrambled six and a bit minutes. If there was a prize for the most unmusical experience of the year it could, as far as I am concerned, be awarded to this piece. Let’s move on to the last work. It’s the longest here.<\/p>\n

Aleyda Moreno’s Night Music is for electronic violin, alto sax, piano and percussion. She studied piano, composition and electronic music in Mexico City and is a member of ‚Noiztrik‘, an improvisational group. This\u00a0Night Music<\/i>\u00a0alludes possibly to Bart\u00f3k but one is reminded not only of animal murmurings and the natural environment but also of how the darkness itself is frightening and intimidating. Moreno flirts occasionally with tonality as instrumental splashes of melody float across the soundscape and then returns to an electronic smear. It’s quite fascinating and brings the disc to an intriguing conclusion.<\/p>\n

The Ensemble Int\u00e9grales are well known throughout Europe. Although based in Germany they have been promoting new music from all over the world in recent years. For example in 2007 they worked with Asian composers. There is no doubt about their commitment, expressive abilities and virtuosity. These composers are fortunate indeed to have them working for them with such flair.<\/p>\n

Gary Higginson<\/p>\n

Commitment, expressive abilities and virtuosity. These composers are fortunate indeed to have these musicians working for them with such flair.<\/p>\n

www.musicweb-international.com<\/a><\/p>\n

 <\/p>\n


\n02\/2011<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: PASSAGEN \u2013 MEXIKO In Mexiko, einer alten Kulturnation, die sich in der Tradition pr\u00e4kolumbianischer Hochkulturen und des kolonialspanischen Erbes sieht, flie\u00dfen verschiedene Kulturen, soziale Welten, Sprachen und Traditionen ineinander. 2010 feiert Mexiko das \u00bbBicentenario\u00ab, den Jahrestag, der an die mexikanische Unabh\u00e4ngigkeit und Revolution erinnert. 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