Musique électroacoustique latino-américaine

Héctor Fiore, Un romance en tiempo de candombe, 1997
(Argentine)



Durée de l'enregistrement : 12 min 04 s.
Instruments : Musique sur bande

Autres ressources disponibles :
- À propos de Héctor Fiore
- Compositions par Héctor Fiore

À propos de cette composition :

[Traduction française non disponible]
Un romance en tiempo de candombe (1997) computer. [E] I got the idea to work with the candombe musical and aesthetic elements after reading the book "El tamboril y la comparsa" written by the Uruguayan musicologist Lauro Ayestaran. It helps me to take the decision to work but, for long time I am very impressed by the cultural meanings of the "murga" as one of the most characteristic and interesting manifestations of contemporary folklore. The piece itself was inspired by a book of Mario Benedetti's poetry.

Ayestaran's work is a kind of monographic book about the Candombe as a dance, music, and as a cultural characteristics of the Rio de La Plata region. This fact helps me to create the original musical material such as rhythmic-melodic patterns and the basic timbres to be used. It would be very difficult to discover some technical
aspects of this music listening just to the recorded material.

Benedetti's poetry helped me to conceive the formal arrangement of the whole piece. Both sources were very important for the finalization of the piece. There is a formal use of some natural sounds such as different kinds of bird sampled sounds, scratch and rubbed noises, etc. These sounds are used to evoke the atmosphere I can remember from Uruguay in Carnival time. On the piece one can clearly recognize two sections with a quite long introduction and a
coda at the end. These sections are conceived as opposite and complementary to each other. I was working very carefully over the basic patterns of the candombe music. Anyway my goal was not to reproduce them on the computer tape (there is no meaning to do so).

I've tried to have reflected in the music something like a synthesis of these complexity. In the second section these patterns are continuously sustaining others musical events that works as a desired contrast with the first one.

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