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un posible dia



Sticky notes about Un posible dia, quasi un radiodramma, imaginary theater in music.



by Javier Torres Maldonado

 

PRESENTATION OF THE WORK


Un posible dia page 1


UN POSIBLE DIA (A possible day) results from the need to approach a genre which, although not related to musical drama as such, makes it possible to create fluctuations between imaginary drama and music.This idea made me ask playwright Ana Candida de Carvalho to invent a radio drama especially performed on that occasion. However, “Un posible día” is not just a radio drama. With original videos by painter Magali Lara during the premiere, it can also be called a multimedia show.

At its most embryonic stage, the piece was conceived from the idea to create a radio play in which the use of voices was natural and by the desire to get all the musical material of the work from a percussion instrument: a tam-tam played with a super-ball (see below “New alchemy: the Computer Assisted Orchestration or the travel of a composer in Wonderland”.)

It is not only in the way the different musical and theatrical elements interact with each other that we can find the idea of fluctuations between imaginary drama and music, but also in the intention of building up situations that result from the musicality of speech and the theatricality which is implicit in the dynamics of certain musical processes. In that regard, the way the voice of the leading actress is written is an obvious answer to my intentions: it simply wavers between singing and recitation.

Un posible día is a self-reflective piece with one purpose : that of answering a question whose answer is not to be found through words, but through itself : can we consider radio drama as a living genre still valid today?



Un posible dia, quasi un radiodramma (2010-2011), for soprano, actor, ensemble and interactive electroacoustic system by Javier Torres Maldonado.

Commande de l'Etat 2011 (French Minstry of Culture), work commissioned by the Ensemble 2e2m with the support of Sistema Nacional de Creadores de Arte of Mexico/FONCA (Fondo Nacional para la Cultura y las Artes.)

Original text of the radio play: Ana Candida de Carvalho.

Lyric texts (scenes II and IX): Jose Manuel Recillas.

Graphic art and video: Magali Lara.

Technique: La Muse en Circuit, Centre National de Creation Musicale.

Music informatics and sound design: Javier Torres Maldonado and Max Bruckert (GRAME, Centre National de Création Musicale of Lyons, France.) The electroacoustic part was mixed at the studios Botticelli and Cage of “La muse en Circuit” with the assistance of sound engineer Laurent Codoul.

Work dedicated to Pierre Roullier.

© 2011, Edizioni Suvini Zerboni - Milano.

NEW ALCHEMY: THE COMPUTER ASSISTED ORCHESTRATION OR THE TRAVEL OF A COMPOSER IN WONDERLAND


From some years my personal research was oriented in part towards the possibilities to translate and transform musical objects from their spectral information into a sort of “re-synthesis”, made with different sound sources. For this purpose I used, in addition to spectral analysis, some libraries developed at IRCAM, like the Repmus, distributed with the software Open Music. However the resulting relationship between the technique used and the source sound material was not always satisfactory, especially because it was intuitive -in regard to the deduction of instrumental combinations-; indeed it resided on my intuition, orchestration skills and derived only partially from scientific deductions.

It was in 2003, thanks to Yan Maresz, that I heard about an important research project in the field of Computer Assisted Orchestration at IRCAM, but really I could have access to this instruments since 2009 again trhough Yan Maresz but above all through my personal friendship with one of the leading researchers on this field: Gregoire Carpentier. I took many important and interesting suggestions from Carpentier and in particular, using the software developed by him as part of the team Music Representations Group of IRCAM, I discovered a new dimension in the alchemy of composition and orchestration; indeed the more important musical materials presented and transformed in Un posible dia derivate from the calculation of different solutions in orchestration using the software Orchidee.


logo software orchis


Here there are some examples that illustrate it:


Fundamental sound derivation in “Un posible dia”.


The fundamental sound idea in this work derives from a tam-tam sound, played with super-ball:





A very short fragment (a microcosmos) was isolated from the preceding sound:





The next example presents the fragment above, repeated several times so that it can be heard clearly:





The next step was to generate an artificial synthesis developed in Orchidee:





Finally I choosed between 74 possible solutions, here are some of them:


First solution (measure N. 20 of the score):
(Clic here to open a pdf that shows the score generated by Orchidee)




Second solution (measure N. 25 of the score):
(Clic here to open a pdf that shows the score generated by Orchidee)




Fourth solution (measure N. 30 of the score):
(Clic here to open a pdf that shows the score generated by Orchidee
)



Fifth solution (measure N. 31 of the score):
(Clic here to open a pdf that shows the score generated by Orchidee
)



Solution N. 9 (measure N. 32 of the score):
(Clic here to open a pdf that shows the score generated by Orchidee)




The next audio example corresponds to the beginning of the piece, it is presented as an illustration of the use and transformations of the material derivated from Orchidee. The copyright limits of the recording do not allow to publish all the piece on internet so I highly recomend to listen to the commercial CD (see the specific section for it on this page):


Un posible dia, quasi un radio drama, first 2.18 minutes at the beginnig of the piece, performed by the Ensemble 2E2M conducted by Pierre Roullier.


Similarly to the mechanisms that may be established between the fantasy of a composer and Computer Assisted Composition, generated solutions from Computer Aided Orchestration can be for him an extraordinary suggestion for his imagination, rather than infallible solutions.







SOLOISTS, INSTRUMENTS OF THE ENSEMBLE AND TECHNICAL RiEDER


“Un posible dia” was composed for voice (soprano), actor, ensemble and electronics. Public performances of the work can include videos by Magali Lara. You can download a pdf file that contains the list of acoustic instruments by clcking HERE.

HERE you can download the technical rieder for this work.


COMPUTER ASSITED COMPOSITION AND UN POSIBLE DIA

Some examples of use of Computer Assisted Composition in Un posible dia.


To operate some transformations of the materials obtained from Orchidee I developed techniques in the powerful software for Computer Assisted Composition PWGL. Unfortunately it would be very long and beyond the limits of this page to illustrate in detail this complex work, therefore I include a few examples to illustrate some compositional ideas and processes.


Example 1.

The start point was a harmonic field derivated in Orchidee (solution 17 of 74 generated possibilities):



Example 2 (open every pannel by clicking on its title):

  • HARMONIC FIELD CHROMATIZATION
  • PWGL PATCH
  • RYTHMIC VALUES DERIVATION
Through a deductive procedure the original harmonic field was integrated with other pitches chromatically opposite:


harmonic field manuscript

To open all examples of algorithms proposed in this page it is necessary to download and install properly on your computer PWGL, as well as install and/or enable the libraries esquisse, grythm and ksquant.

By clicking HERE you can dowload the PWGL patch containing a semplified algorithm that is not far from the original procedure to obtain the more important harmonic field of the work.



In some cases the generation of rhythmic values was derived from the intervals of the harmonic fields, as demonstrated in the patch you can download from THIS link










Example 3:

The next patch is really the first example of derivation and transformation from the harmonic field exposed above. For the independent derivation of different voices I “rotate” the pitches of the original sequence and the associated rythmic values; nevertheless, for these latter I also applied a coefficient of contraction or expansion to their inter-relations. The piano part indeed presents condensed all of these voices in the begining measures of the score.

You can download the patch it from THIS link.

Warning: this section will increase its material periodically. Plase, visit again this page in the future for new publications.




DRAMATIC SUBJECT

The dramatic subject focuses on an ordinary day in the life of a common woman (the protagonist), whose loneliness plunges her into various sound landscapes. On the stage of an imaginary theatre we see (almost like a “film”, due to the speed with which the various scenes often follow each other, but without explicit images, despite the presence of the video in the live show) the sounds and images from that day like any other, until an encounter, that happens in the woman’s imagination, radically changes the apparent predictability of the events».

 



SCENES

0. MAELSTROM (ensemble and electronics.)

I. REVEIL DE PRINTEMPS (soprano, actor, ensemble and electronics.)

II. INTROSPECTION I*) (optional scene. Soprano, pencils and percussion mallets. Lyiric text by Jose Manuel Recillas)

III. INCURSION DANS LE FEU (actor and electronics.)

IV. ABIME I (soprano, actor, ensemble et dispositif électroacoustique)

V. INCURSION DANS L’AIR (soprano, ensemble and electronics.)

VI. INTERMEZZO (actor, percussion and electronics.)

VII. DELUGE UNIVERSEL (soprano et ensemble.)

VIII. ABIME II (recited dialogue: soprano, actor and electronics.)

IX. INTROSPECTION II*) (optional scène. Soprano, percussions and toys. Lyrici texts by Jose Manuel Recillas.)

X. INCURSION DANS LA TERRE (monologue: actor.)

XI. ABIME III (soprano, actor, ensemble and electronics.)

XII. RETOUR A ITHAQUE. (soprano, actor, ensemble and electronics.)

XIII. EPILOGUE (soprano, actor, crystal glasses and percussion.)

TEXTS AND DIFFERENT TRANSLATIONS

Texts and different translations.

The idea of working on a new piece with characteristics belonging more to the radio play than to the melologue had already been in my mind for some time, but the difficulty was to find a suitable subject and a text. The solution in the end was to ask the dramatist Ana Candida de Carvalho and the poet José Manuel Recillas to create the texts especially for the purpose. So, de Carvalho wrote the entire text of the radio drama and, for the scenes III and X (Introspections I and II) I used two of several poems wrote by Jose Manuel Recillas, inspired on several introspective aspects of the protagonist. Below you can choose an option to download the text in different languages, you can choose a text by clicking on an option:







LIVE PERFORMANCES OF UN POSIBLE DIA


button WORLD PREMIERE: 20.05.2011, Maja Pavlovska (soprano), David Jisse, actor, ENSEMBLE 2E2M, Pierre Roullier (conductor), technique: La Muse en Circuit. Festival Extension, Théâtre de Villejuif, France.
DOWNLOAD THE CONCERT PROGRAM FROM (PDF) CLICKING ON THIS LINK.

button NICE, FRANCE: 22.11.2011, FESTIVAL DE MANCA, CIRM, Maja Pavlovska (soprano), David Jisse, actor, ENSEMBLE 2E2M, Pierre Roullier (conductor), technique: La Muse en Circuit. Théâtre National de Nice, FRANCE.




Foto - premiere of Un posible dia of Javier Torres Maldonado by the Ensemble 2e2m

Un posible dia, first world performance by Maja Pavlovska (soprano), David Jisse (actor) and the Ensemble 2e2m. Conductor:
Pierre Roullier. Technique: La muse en circuit. Romain Rolland Theater, Paris, 20.05.2011.

NEW COMPACT DISC PUBLISHED BY THE LABEL ALAMUSE


UN POSIBLE DIA is recorded in a COMPACT DISC co-produced by the ENSEMBLE 2E2M, the French center for new technologies LA MUSE EN CIRCUIT and FONCA (the National Endowmnet for Culture and Arts of Mexico.) The CD is published by the label of LA MUSE EN CIRCUIT ALAMUSE (world distribution: DistrArt Musique SARL, Paris.)


Performers: Maja Pavlovska (soprano), David Jisse, actor, ENSEMBLE 2E2M, Pierre Roullier (conductor), technique: La Muse en Circuit. Live recording, Festival Extension, Théâtre de Villejuif, FRANCE, 20.05.2011.


CD un posible dia


SCORE

The score is published by Edizioni Suvini Zerboni - Milano. You can download a sample of it from THIS link (reproduced by gentle permission of Edizioni Suvini - Milano.)


ELECTROACOUSTIC PART, MUSICAL INFORMATICS AND LIVE INTERACTIVE CONTROL


I composed the entire work (electronics included) in my personal studio in Milan and during two artistic residencies at La muse en circuit (studios Botticcelli and Cage), between 2010 and 2011.

The electroacoustic part is composed for a quadraphonic sound system.

For the interactive control of the electroacoustic part and video I used a MaxMsp/Jitter patch-system made by my friend, assistant and collaborator at GRAME (Centre National de Création Musicale) of Lyons, France, Max Bruckert
. The entire electroacoustic part was created by me.

I made the last stage of work at La muse en circuit assisted (in the last mixing work) by the sound engineer Laurent Codoul.

A recorded recitation of the texts made by David Jisse on December 2010 was very important, not only for the use of his voice in different acousmatic derivations but in general as a starting point for the composition of the work.



VIDEO

The original conception of Un posible dia (a live show, radio drama, imaginary theater in music...) includes, in the case to be presented as a live show, the projection of videos created specifically by the Mexican painter Magali Lara.

Soon will be published more information in this section.

RADIO BROADCASTS AND MEDIA DIFFUSION

UN POSIBLE DIA AND OTHER WORKS BY JAVIER TORRES MALDONADO, LES LUNDIS DE LA CONTEMPORAINE, BY ARNAUD MERLIN.
logo france musique
Les lundis de la comteporaine by Arnaud Merlin
27.06.2011, 20.00 h. France Musiques (Radio France.) Javier Torres Maldonado par l'Ensemble 2e2m. Works programmed: “Un posible dia”, quasi un radiodramma (2010-2011), for soprano, actor, ensemble and electronics, “Rosa Mutabile” (2010), for 2 instrumental groups, “Esferal” (2006), for orchestra and electronics, “Obscuro Etiantum Lumine” (2004), for violin and 3 orchestral groups.
Concert of 20.05.2011. Available on internet from 27.06.2011 since 27.07.2011.

logo france musique
RADIO INTERVIEW TO JAVIER TORRES MALDONADO BY JEAN PIERRE DERRIAN.
Les lundis de la comteporaine
Sur le vif
09.05.2011
Live. Available on internet only until June 8, 2011.



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