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Duplum Duo (Mexiko)
Ivan Manzanilla: Schlagzeug
Fernando Dominguez: Bassklarinette
Karlheinz Essl: Live-Elektronik
Werke von Carlos Sánchez Gutiérez, José Manuel López López, Joao Pedro Oliveira, Ignacio Baca Lobera und Karlheinz Essl
Nur wenige Instrumente entfesseln so viel musikalisches Potential wie die Kombination von Schlagzeug und Bassklarinette. Das Programm des heutigen Konzertes wurde vom Ensemble Duplum Duo dahingehend ausgewählt, dass das Publikum möglichst viele Facetten der Interaktionen zwischen diesen beiden Instrumenten erleben kann: Musik von zeitgenössischen lateinamerikanischen und europäischen Komponisten, die diese Klangwelt erforschen.
Das Duo Duplum arbeitet intensiv mit KomponistInnen aus der ganzen Welt zusammen. Die für sie geschriebenen Werke wurden u.a. bei den Internationalen Ferienkursen in Darmstadt und im Auditorio Nacional de Música in Madrid uraufgeführt.
Carlos Sánchez Gutiérez: DeKoonig Movements
Karlheinz Essl: Sequitur XI
Ignacio Baca Lobera: Quantum Leap
José Manuel López López: African Winds
Joao Pedro Oliveira: Angel Rock
Ignacio Baca Lobera
"Quantum Leap II" is the second piece from a cycle which deals with morphological aspects of sound production as a basis for musical form and timbre (the first one is "Salto Cuántico" for A Clarinet and electronics). Quantum Leap II is scored for Bass Clarinet in Bb, Percussion and samples; the later constitute either a constructed resonance or a contradiction of the mentioned sound production. Written and dedicated to Duplum Duo.
Carlos Sánchez Gutiérrez
I have always been impressed by the brutality, the energy, the dynamic forms, and the synthetic energy of Willem de Kooning's work, and have now composed a piece that, through the exploration of the dramatic power of rhythm and bold instrumental gestures, strives to conjure the experience of observing de Kooning's paintings. It is a journey that allows me to savor with each stop an electric concoction of Matisse, Picasso, German Expressionism, Abstract Expressionism, and total abstraction.
Joao Pedro Oliveira
Angel Rock was inspired in Berio’s treatment of folk material and its adaptation to a contemporary setup, as he did in works like Coro or Folksongs.This piece gets its sound influences in “hard rock” and “progressive rock” music of the eighties. The explosive gestures, contrasting with high pitched sustained notes, try to emulate in my own personal language, some memories I still have in my mind, from those times.The electronics are used as an expansion of the instruments, acting like a “ghost” of the instrumental gestures. Those “ghost” sounds somehow “distort” the pure instrumental sounds, in the same way my recollections of the rock sounds from the eighties are “distorted” in my memory, because of thirty years of distance.Angel Rock was commissioned by the Giga-Hertz Award and composed at the SWR studio in Freiburg.
Sequitur is a series of 14 compositions for various solo instruments and live-electronics which I started in 2008. It was written for orchestra instruments like flute and violin, but also for voice and more exotic ones such as electric guitar, toy piano and kalimba. Somehow it refers to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. Each piece can be performed by the player alone (using a foot pedal) or together with a second musician who operates the live-electronics. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness.