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1. La Fiesta (1989) 9m52s imed_9628-1.1 | 14295 | ISRC CAD509612030keyboard controlled synthesizers, and tape Composer: Sergio Barroso Sergio Barroso, keyboard controller Premiere: 1989, South Bank Centre (London, England, UK) La Fiesta (The Party) was conceived as a symphony of sound color forms derived from the telluric experiences of my tropical ear. The piece involves two sets of Yamaha DX7IID(E!) and TX802 synthesizers, one set to be performed live, the other recorded on tape. The result is a multitudinous web of synthetic sound designs having vocal, instrumental or electronic quality which are orgiastically combined between solo and tape to achieve the desired expressive idea. La Fiesta was realized at Ireme Studio in Vancouver (British Columbia, Canada) in September, 1989 for the Rendezvous Festival in London (UK) with the financial assistance of the Canada Council [for the Arts]. It was premiered in October, 1989 by myself at the South Bank Centre (London) and has since been performed and recorded in Canada, the United States and Europe. La Fiesta was recorded on the Anthology of Canadian Music: Electroacoustic music by Radio Canada International (ACM 37) released in 1990. The present version is a new recording realized at Ireme studio in Vancouver in 1995. La Fiesta was awarded at the International Music Council (IMC) International Rostrum of Electroacoustic Music (IREM) (Oslo, Norway, 1990). La Fiesta was extremely difficult to create; I owe to Barbara all the encouragement to survive it. She switched me from the tracks of torture to those of magic. 2. Crónicas de Ultrasueño (1992) 12m51s imed_9628-1.2 | 14296 | ISRC CAD509612040oboe, and keyboard controlled synthesizers Composer: Sergio Barroso León Biriotti, oboe; Sergio Barroso, keyboard controller Commission: León Biriotti, with support from the CCA Premiere: June 1992, (Vancouver, British Columbia, Canada) Crónicas de Ultrasueño (Chronicles from Beyond Dreams) was inspired by the poetic musicality, unreality, and polylyricism of the unique Catalan and major Hispanic writer JV Foix (1894-1987). The title was borrowed from his last work Croniques de l’ultrason (1985). Scored for solo oboe and keyboard controlled FM synthesizers, the piece was conceived in three uninterrupted sections that seek to bind together with a strong introspective flavor such opposites as concrete and abstract, old and new, reality and unreality. A demanding oboe part interplays with the polymicrotonal sound colors of the live electronics along a linear path of increasingly complex drama. Crónicas de Ultrasueño was realized at Ireme Studio in Vancouver (British Columbia, Canada) in 1992 and was commissioned by Uruguayan oboist León Biriotti with the financial assistance of the Canada Council [for the Arts]. Crónicas de Ultrasueño was premiered on June 1992 by León Biriotti in Vancouver. A later version for B flat clarinet and tape, requested by Vancouver performer François Houle, has been often performed. Two further versions were written in 1995 for Adele Armin (violin and tape) and Laura Wilcox (viola and tape). The piece has been recorded by Canadian oboist Lawrence Cherney and myself on the Centerdiscs label (CMC CD 4793) in 1993. Crónicas de Ultrasueño was awarded at the International Music Council (IMC) International Rostrum of Electroacoustic Music (IREM) (Helsinki, Finland, 1994). 3. En Febrero Mueren Las Flores (1987) 15m28s imed_9628-1.3 | 14297 | ISRC CAD509612050violin, and tape Composer: Sergio Barroso En Febrero Mueren Las Flores (In February the Flowers Die) was composed between June and August 1987. The piece simply expresses a personal lyric by means of contrasting colors, rhythms, textures and dynamics. The sound source for the tape part consists of environmental sounds combined with occasional FM microtonal timbres. En Febrero Mueren Las Flores was realized at Ireme Studio in Vancouver (British Columbia, Canada) in 1987 using the Carnegie Mellon University MIDI Toolkit software for the composition of the tape part and of some sections of the violin solo part. The piece was commissioned by Manuel Enríquez and premiered by him in January, 1988 at the Mexico City International Electroacoustic Music Festival En Torno a los Sonidos Electrónicos. The version for Raad violin and tape was premiered by Adele Armin on June 5, 1991 during Perspectives, the Canadian Electroacoustic Community (CEC) Electroacoustic Days at the Concordia University Concert Hall, in Montréal. 4. Charangas Delirantes (1993) 16m07s imed_9628-1.4 | 14298 | ISRC CAD509612060keyboard controlled synthesizers, and tape Composer: Sergio Barroso Sergio Barroso, keyboard controller Commission: CEE, with support from the CCA Premiere: June 17, 1995, Music Gallery (Toronto, Ontario, Canada) Charangas are popular dance ensembles in Hispano-America, particularly in the Caribbean area. Although the charanga instrumental format is often either a small brass group with percussion or a chamber group including piano, flute, strings, plucked doublebass, and percussion, the term ‘charanga’ is commonly and freely used for any baile (Spanish for popular dancing) ensemble. Charangas Delirantes is an expanded display of this latter concept as a wide sound imagery ranging from the very basic spontaneous and rough Rumba-type groups (consisting of wooden boxes, spoons, and a percussive door) to the subdued and refined romantic bar-type piano or guitar trios and the noisy predominantly brass bands. In this sense this piece should be understood as a fictional and distorted perambulation through the varied and contrasting sound color and rhythmic world of leisure dancing. Charangas Delirantes is scored in three different versions with a similar musical result. It could be performed as a trio (wind, MIDI guitar, and keyboard controllers), as a keyboard controller duo, or as a solo keyboard controller and tape. The sonic material for the piece consists of sampled concrete and FM colors. The former are mostly noises and piano timbres from a Haydn sonata performed by Vladimir Horowitz. The latter include all brass, percussion, and many piano sounds designed by myself. Charangas Delirantes was realized at Ireme Studio in Vancouver (British Columbia, Canada) in 1993 and premiered on June 17, 1995 at the Music Gallery in Toronto. The piece was commissioned by the Canadian Electronic Ensemble (CEE) with the financial assistance of the Canada Council [for the Arts]. I premiered the solo keyboard and tape version on September 19, 1995 at McGill University’s Pollack Hall during the International Symposium of Electronic Art, ISEA95 Montréal. Composer: Sergio Barroso Sergio Barroso, keyboard controller Commission: Kathleen Solose, with support from the CCA Premiere: May 1993, (Brussels, Belgium) Sonatada was composed for one DX7(E!)—or DX7IIFD(E!)—keyboard synthesizer and one TX802 synthesizer as a multipiano piece in three uninterrupted sections related in different external ways to the nineteenth and early twentieth centuries’ tradition of virtuoso solo and concertante piano repertoire. However, the extensive use of symmetric and synthetic microtonal tuning systems exploits sonic situations inconceivable in the acoustic keyboard field. Sonatada was realized at Ireme Studio in Vancouver (British Columbia, Canada) in 1992. I premiered the piece at a live electronics recital in Brussels (Belgium) in May 1993. The piece was commissioned by Canadian pianist Kathleen Solose with the financial assistance of the Canada Council [for the Arts]. 2. Viejas Voces (1993-95) 9m28s imed_9628-2.2 | 14301 |viola, and tape Composer: Sergio Barroso Laura Wilcox, viola Premiere: May 17, 1996, Music Gallery (Toronto, Ontario, Canada) Viejas Voces (Old Voices) for solo viola and tape is one of those pieces one has a special pleasure to write. I guess I indulged myself with intense memories of rhythms, moods, tunes, colors and gestures assimilated and enjoyed from the frenetic and lyric strong culture of my native country. Of course many of these memories are by now distorted by the efficient labour of time and distance. Like looking through a window in my mind with my old glasses. But then, that’s where the joy was. I listened capriciously to these old voices, abused my computer until it went berserk and gave me its voice in a state of absolute paroxysm, and then saw myself indistinctly as a rural troubadour or the big city carnival enthusiast writing a piece for viola and tape. Viejas Voces was realized at Ireme Studio in Vancouver (British Columbia, Canada) during 1993-95 and was premiered by Laura Wilcox on May 17, 1996 at the Music Gallery in Toronto. Thanks to the Canada Council [for the Arts], my son Leván, Cuban violist Angel Lemus, and to Laura. 3. Tablao (1990) 10m32s imed_9628-2.3 | 14302 |Composer: Sergio Barroso Commission: Flores Chaviano, with support from the CCA Premiere: February 1992, (Madrid, Spain) Flamenco music has been around my ears since my childhood in Havana, on the radio, on recordings, the readings and plays of Garcia Lorca, and later on during my visits to Andalusía. The place where Flamenco music is performed is usually called Tablao. The piece contains the essence of different instrumental elements of that music in a dismembered way. Tablao exists in two versions, for tape and for guitar and tape. In the latter the solo part plays the role of one member of the instrumental ensemble as well as that of the cantaor (Spanish for flamenco music singer) who in the middle section evokes elements of Cuban street vendor music rooted in Spanish traditions. The tape part mostly uses microtonal settings of FM synthesis sounds I programed and performed with a DX7IIFD(E!) and a TX802 synthesizers. Tablao was realized in the Fall of 1991 at the Laboratorio de Informática y Electrónica Musical (LIEM) from the Centro de Arte Reina Sofía in Madrid (Spain) where I was invited to work with my old friend guitarist Flores Chaviano. The piece was completed at Ireme Studio in Vancouver (British Columbia, Canada). It was commissioned by Flores Chaviano with the financial assistance of the Canada Council [for the Arts] and was premiered by him in Madrid in February, 1992. The Canadian premiere was presented by Montréal-based Colombian guitarist Arturo Parra in 1994 in Montréal. 4. Yantra X (1982) 16m29s imed_9628-2.4 | 14303 |bassoon, and tape Composer: Sergio Barroso Jesse Read, bassoon Commission: Jesse Read, with support from the CCA Premiere: May 1982, Utrecht Conservatorium (Utrecht, The Netherlands) Yantra means ‘cosmogram’ and is an age-old set of Tibetan graphic symbols representing the cosmos. I used it as a device to generate random structures, tempo and dynamic concepts. Yantra X is the last piece in a cycle of instrumental works with and without electroacoustic elements on which I worked for over a decade. Yantra X subtitled “de profundis” is an intimate and lyrical composition combining a solo bassoon with prerecorded and electroacoustically modified bassoon on tape. A recording score performed by Jesse Read provided the tape sound materials. These were subsequently transformed through complex settings of the Buchla 200 voltage-control analog synthesizer. Up to twelve tracks were mixed into the final stereo tape. The solo live part exploits the bassoon sound qualities and technical possibilities across the full register range of the instrument and beyond. Yantra X was realized at the University of Victoria Electroacoustic Music Studio (British Columbia, Canada) between January and February 1982. The piece was commissioned by Jesse Read with the financial assistance of the Canada Council [for the Arts] and was premiered by him in May, 1982 at the Utrecht Conservatorium (The Netherlands). 5. Canzona (1988) 12m23s imed_9628-2.5 | 14304 |Composer: Sergio Barroso Premiere: 1988, Vancouver Art Gallery (Vancouver, British Columbia, Canada) The title refers to the early Renaissance instrumental compositions bearing this generic term to define simply ‘an instrumental composition.’ The piece keeps specific contact with its sixteenth-century ancestors through an extremely dense and ornate polyphonic style, an open continuous structure, certain expressive moods and twists, and the smiling recreation of sound colors and compositional resources of that musical epoch such as echo and pian e forte effects. Except for the use of wholetone and harmonic series tuning systems, the piece is fully microtonal in order to achieve the resulting timbres and textures. The microtunings, ranging from quarter-tone to thirty-second of a tone, are combined in either complex single color or multi-timbral blocks. Canzona was realized with a Yamaha DX7II/E! keyboard synthesizer and a TX802 synthesizer at Ireme studio in Vancouver (British Columbia, Canada) in late 1988 and was premiered shortly after in a recital of new music for digital keyboard I performed at the Vancouver Art Gallery. Canzona was first released on the compact disc New Music for Digital Keyboard, on the SNE label (SNE 556) in 1989. The present version has been remastered at Ireme studio in Vancouver in 1995. All pieces were produced and recorded at Ireme studio in Vancouver (British Columbia, Canada), between June 1994 and February 1995 by Sergio Barroso assisted by Michael Maguire. Neuman and AKG microphones were used for recording the mixed pieces. electrocd.com Sergio Barroso: Délirantes: track detail |
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