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Music and art. Correspondences 2013 starts this fourth edition in dialogue with the Portuguese artist Miguel Palma (Lisbon, 1964) and the retrospective about his work organized by the curator and director of CGAC  Miguel von Hafe Modern Discomfort.

In this concert are presented three different models of matter and energy sound, instrumental interaction and visual perception. If the Portuguese artist is interested about “reality subverted, manipulated realities extracts” or uses “hybrid artifacts devoid of its utilitarian function or far from it” the chosen program today transits these characteristic elements of Palma´s style.

In kobushi burui, Malin Bang (Sweden, 1974) uses four conventionally recognized how such instruments with everyday objects: electrical appliances such as a sewing machine, vacuum cleaner, fan, hair dryer or similar. The manipulation of musical instruments in an unconventional way joins using different objects in the search for a sound equally complex that interacts with the sounds of electric objects used. Malin gets a new sound fruit and contrasting unpredictable actions, ranging from the intimate and almost inaudible to the rough and stubborn.

With Kein Thema, Marianthi Papalexandri-Alexandri (Greece, 1974) “focuses on the perceptions of the performer. Manipulation of the instrument (sound objects in this case), restricting the usual actions, causes immediate reactions in the performer. Such reactions enable new forms of communication and group behavior. ” In addition, performing repetitive movements in preparing tiny sound action is visually perceptible to the audience, who finds a direct correlation between gesture or action, object and sound. Kein Thema reflects the “intent to explore how the limitation can lead the new possibilities of sound”

Manuel Rodriguez Valenzuela (Valencia, 1980) used in 24 two musical instruments, piano and cello, manipulating them so that creates two new musical instruments. While the piano and become a new sound machine in a special music box through the thorough and accurate action five performers with multiple and varied objects, the cello is modified and amplified acoustically. And as in Palma is a subversion of reality, there are in 24 a transgression of tradition: taking the duo cello and piano connotations relevant to the history of music, Valenzuela includes a quote in the fourth movement of the 5th Sonata Beethoven “as a tribute to his deafness”.

Pablo Coello

S O N I C  U T O P I A

Malin Bang (SWEDEN 1974)

kobushi burui * (2012) tenor saxophone, percussion, piano, electric guitar and electric items

Marianthi Papalexandri-Alexandri (GREECE 1974)

Kein Thema (2007) video sound projection

Manuel Rodriguez Valenzuela (SPAIN 1980)

24 (2013) amplified cello and piano at 10 hands

* Presentation in Spain

ensemble vertixe sonora

Pablo Coello saxophone / Ruben Barros electric guitar /  Thomas Phiel cello / David Duran, Haruna Takebe piano /Diego Ventoso percussion/ Ramon Souto artistic direction


 CGAC AUDITORIUM Rúa Ramón del Valle Inclán s/n, 15704 Santiago de Compostela tel.: 981 546 623 / cgac.actividades@xunta.es / www.cgac.org


[NEXT CONCERT of the series : Thuesday, June 11]