Musique électroacoustique latino-américaine

Javier Garavaglia, Gegensätze (gegenseitig), 1994
(Argentine)



Instruments : Pour flûte alto, bande 4 pistes et électroniques en direct
Réalisé à : Studio Aufnahme.
Remarques : Christiane Schultz, flûte alto; Javier Garavaglia et Markus Lepper, ingénieurs de son. Version stéréo.

Autres ressources disponibles :
- À propos de Javier Garavaglia
- Compositions par Javier Garavaglia

23 mouvements :
- track 1 (00 min 19 s)
- track 2 (00 min 21 s)
- track 3 (00 min 14 s)
- track 4 (00 min 13 s)
- track 5 (00 min 10 s)
- track 6 (00 min 13 s)
- track 7 (00 min 10 s)
- track 8 (00 min 13 s)
- track 9 (00 min 08 s)
- track 10 (00 min 06 s)
- track 11 (00 min 01 s)
- track 12 (00 min 01 s)
- track 13 (00 min 18 s)
- track 14 (00 min 19 s)
- track 15 (00 min 45 s)
- track 16 (21 min 25 s)
- track 17 (00 min 05 s)
- track 18 (00 min 06 s)
- track 19 (00 min 06 s)
- track 20 (00 min 07 s)
- track 21 (00 min 06 s)
- track 22 (05 min 33 s)
- track 23 (00 min 01 s)

À propos de cette composition :

[Traduction française non disponible]
"Gegensätze (gegenseitig)" was the result of the following idea: to compose a piece in which contraries should be shown not only against each other (in a negative way), but also that they could be able to build some kind of unity by creating something completely new, constructive and positive.

There are three Instrumental groups (alto flute, 4-channel tape and the 4-channel live-electronics). Each parameter (from the micro-up to the macro-structures) were worked out with the same principles of THESIS-ANTITHESIS working together to create something new, so that at any point of the piece the main idea should be shown. For this purpose, two principles which are opposite to each other were chosen: a "single-principle"anda "totality-principle". Both principles should have to be the main generators of every event throughout the work and are mainly represented everywhere in the piece by two objects: "glissando-object" representing the "totality-principle" and "a single-note-object", representing the "single-principle".

For the whole structure of the work,a numerical-row was chosen, whose first four components are explicit selected , but from the 5th component on,they should always bethe addition of the last three numbers (that means that the next figure in the row, will be constituted with the reciprocal action of the former three). It comes as result a bigger new value that stands as a contrary to the first, for example, the row begins with (1 1 3 5), which are the numbers that Iarbitraryselected; the next value will be 9 (1+3+5), the next 17 (9+5+3) and so on. Each single element contributes to make a partial new totality. This row plays an extremely important role in the composition of the pitches, rhythms, metronomic values, form, and the stage-production, as well.

The form of the piece consists of 5 parts, each one showing the principles already mentioned:

1- Solo alto flute ("single-principle")

2- Alto flute + Tape (as opposites)

3- Only Tape ("single-principle")

4- Alto flute + Tape + live-electronics("totality-principle"- reciprocally action of all threeInstrumentals)

5- Only live-electronics ("single-principle" as result of the reciprocally action of all threeInstrumentals)

The rhythms have beencomposed with the numerical row too. There is a unit value which is the sixteenth, which will be multiplied or divided with the numbers 1, 3, 5, 9, in all possible combinations within these 4 numbers (for example, ratio 9:5 means that 9 equal durations should be instead of 5 sixteenths; ratio1:3 results in a dotted eight,etc).

The stage-production is also supposed to work with contraries. The stage should only be iluminated when the flautist has to play (parts 1,2,4 and 5). In part 3, where only the 4-channel-tape is present, the whole stage and the whole hall (if possible) should be dark.

The materialfor the pitches has been derived from a chromatic scale beginning with the pitch g3 (the deepest note for the alto flute in G), representing a whole or totality object, a metasymbol of the"glissando-object ". This object plays one of the most important roles throughout all parameters inthe piece, not only for the flute-part, but also and mainly for the tape and the live-electronics. The process of genereting the whole pitches for the flute partare produced by an algorithm thateliminates some notes in such a way that at the end, there's only one pitch left. The result is a process goingfrom the whole (all 12 tones) up to ONE SINGLE element, generating a tension between the two main principles mentioned above. The pitches which were eliminated, will be used later in part 4, in the form of 3 improvisations, in which only the rhythms are totally free. These improvisations make a counterpoint to the live-electronics and even modulate them, as it actually happens in the third one.

The whole 4-channel-tape part has been worked up with many different methods, for example CommonMusic, transpositions and filters (mostly with Sound Designer II), echoes and even with the AUDIACsystem itself. This twenty minutes long 4-channel tape makes at its begining a counterpoint to the alto flute, than develops itself alone and at last must fade out very slowly as the live-electronics start.

The around 13 minutes long live-electronics part is divided into three different groups: "LA", "LB", "LC","L" meaning in this case "live" and were produced with the AUDIACSYSTEM and the APOS language.

The general conception of the work can be interpreted from several points of views, but my intention was to show the "Thesis-Antithesis" concept at the light of human, social and naturally also political relationships. I think that nowadays, a time in which Neonazi ideas and deeds wide out again (mostly in Europe and in the USA, but not only),the concept of a reciprocal action of opposite elements may be considered as the contrary to intolerance, racism and discrimination. That doesn't mean neither that my piece has got a secret program nor that it is a political work (which is mostly the case of Luigi Nono's music, to take only one example), but it may be able to recall these type of implications. The piece was first performed onJune the 18th of 1994 in the city of Dortmund (Germany) by the german flautist Christianne Schulz.

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