Audio

Autoritratto

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Text by Luigi Nono, performed by José Iges
Texto de Luigi Nono, interpretado por José Iges

Recorded at / Grabado en RNE, Madrid, 1990

Dylan in between

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This short work is born from a misunderstanding: the one to think that “plage” (“beach”) was the name that occurred in French (since it were composed for nº 4 of the French sound magazine “Erratum”) to empty fragments between the tracks of a vinyl disc. Consequently, this work would have to call “Dylan on the Beach”, because it is constructed by those fragments - and its scratches and so many other noises that are hidden in a space that was wanted acousticaly empty- taken from old discs of the American musician, in his 60th anniversary. Due to the mistake, I have changed the title of the work but not the content nor its intention (Dylan is in “between”, in any case). Thus, the paradoxical reality of our certainties - with respect to the technology, for example -, is present, but also the ridiculous attitude that drags us to the search of any object that could have relation - even weak- with our temporary idols. John Cage - another American musician of the last century, less known than Bob Dylan- has shown to us during 4′33” that absolute silence does not exist; here, in the same duration, it’s shown in addition that are not two equal silences.

Esta breve obra nace de un malentendido: la de creer que “plage” era el nombre que se daba en francés -dado que fue compuesta para el nº 4 de la revista sonora francesa “Erratum”- a los espacios vacíos entre los cortes de un disco de vinilo. En consecuencia, la obra - en claro guiño al título de la primera ópera de Philip Glass- debería llamarse “Dylan on the Beach” por estar construida por esos espacios –y sus chasquidos y tantos otros ruidos que se ocultan en un lugar lleno de misterio que se quisiera acústicamente vacío- tomados de viejos discos del músico americano, en su 60 cumpleaños. Habida cuenta del error la obra cambió de nombre pero no lo hicieron ni el contenido ni su intención. Así, la realidad paradójica de nuestras certidumbres –respecto a la tecnología, por ejemplo-, está presente, pero también la irrisoria mitomanía que nos arrastra a la búsqueda de cualquier objeto que pueda tener relación –incluso débil- con nuestro ídolo del momento. John Cage –otro músico americano del pasado siglo, menos conocido que Bob Dylan- nos ha mostrado durante 4’33” que el silencio absoluto no existe; aquí, en la misma duración, se muestra además que no hay dos silencios iguales.

Museo Inmaterial Studio, Madrid, 2001

Toda claridad es oscura / All clarity is dark

Track 1

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Track 2

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Track 3

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The work arises from the research that I’m making since 2002 with nonsignificant elements of the spoken language - remainders, hesitations, stammerings… -. For the accomplishment of this piece I have used an ample selection of voices of Spanish and Hispano-American poets, being possible to identified among them clearly the voices of Celaya, Rosario Castellanos, Gamoneda, Neruda, Octavio Paz, Jose Mª Bermejo, Oliverio Girondo, Mario Merlino, Juan Ramón Jiménez and Gonzalo Rojas. Everything moves between sound and sense, semantic value and purely musical one, thanks to the meticulous treatment with VST plug-ins on Max/MSP and to the final mix in ProTools. Acknowledgment: to Concha Jerez for the wonderful voices of the poets who makepossible this tryptic, which takes its title from a verse by Pablo Neruda.

La obra surge del trabajo que vengo realizando desde el año 2002 con elementos no significantes del lenguaje hablado –residuos, imprecisiones, balbuceos…-. Para la realización de esta pieza he utilizado una amplia selección de voces de poetas españoles e hispanoamericanos, entre los cuales se puede identificar con claridad a Celaya, Gamoneda, Neruda, Octavio Paz, Rosario Castellanos, José Mª Bermejo, Oliverio Girondo, Mario Merlino, Juan Jiménez y Gonzalo Rojas. Todo se mueve entre el sonido y el sentido, entre el valor semántico y el puramente musical, gracias al tratamiento minucioso con diversos plug-ins VST sobre Max/MSP y a la mezcla final en ProTools. Agradecimientos: a Concha Jerez, por las maravillosas voces de los poetas que hacen posible este tríptico, que toma su título de un verso de Pablo Neruda.

Museo Inmaterial Studio, Madrid, 2006

Secretos bien guardados

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The history of any particular time is the preferred version of events. The preferred version of events carries the stamp of cultural dominance. Every tradition is therefore selective. Every choice is ultimately an interpretation of the facts. All history must be countered. The countless ways of not understanding truths become accessible to all in well-kept secret.

La historia de cualquier tiempo concreto es la versión preferida de los acontecimientos.
La versión preferida de los acontecimientos lleva siempre el sello del orden cultural dominante.
Toda tradición es, pues, selectiva. Toda selección es, finalmente, una interpretación de los hechos. Toda historia debe ser contrarrestada.
Las innumerables formas de no comprender convierten verdades accesibles a todos en secretos bien guardados.

Text and voice / texto y voz: José Iges

Recorded at / Grabado en LIEM-CDMC, Madrid, 1997

Nihil obstat

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Suzana Stefanovic, cllo. José Iges, live electronic.

Recorded at / grabado en: Teatro Monumental de Madrid, 28-1-06, (RNE)

Tres

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René Mora, guit.

Recorded at / grabado en LIEM-CDMC, 2006

Geometrías

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Grup Instrumental de Valencia. Joan Cerveró, cond./dir.

Recorded at / grabado en Auditorio Conde Duque, Madrid, 3-12-04 (RNE)