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Booklet Mcd015-06.Indd O Centro do Excêntrico do Centro do Mundo M i g u e l Yuan Zhi Yuan A z g u i m e Singcircle - Gregory Rose Huaxia / Antifonia - Tsung Yeh, Xing Rufeng, Gao Yongping mcd015.06 This CD puts together two compositions where the texts and premiere at the Cloister of S. Jorge de Milréus Monastery, O Centro do Excêntrico do Centro do Mundo Yuan Zhi Yuan (from origins to origin) the voice are at the core of the music. within the Coimbra National Cultural Capital on the 8th of (2000-2002) (1997-1998) November 2002, from which this recording was made. 16 solo voices, 2 speakers and live-electronics Soprano, tenor, 6 traditional Chinese instruments, chamber choir O Centro do Excêntrico do Centro do Mundo (which title translated literally is The Centre of the Excentric of the Centre The second piece in this CD is Yuan Zhi Yuan for soprano, Texts from Tratado da Esfera and De Crepusculis by Pedro Nunes and live-electronics of the World) uses fragments of two theoretical texts by tenor, 6 traditional Chinese instruments, chamber choir and (16th century) Texts from Huainan Zhi (150 B.C.) sung in Chinese 16th century Portuguese mathematician Pedro Nunes, more electronics that was commissioned by the Orient Foundation. Live-recording of the premiere at Cloister of S. Jorge de Milréus Thanks: Claude Larre, Elisabeth Rochat de La Vallée, Yvette K. exactly “Tratado da Esfera” (“Treatise of the Sphere”) still a It’s premiere took place at the great hall of the Gulbenkian Monastery, Coimbra, the 8th of November 2002, within the Centeno, Chen Qigang, Institut Ricci Paris pre-copernicus cosmographic thinking and “De Crepusculis” Foundation, in Lisbon, in September 1998, and the current “Coimbra Capital Nacional da Cultura”. Live-electronics by Miguel Live-recording of the premiere at the great concert hall of the which is certainly the most important of Pedro Nunes’s works. recording was taken from this performance. Azguime Calouste Gulbenkian Foundation, Lisbon, the 16th of September The choice of texts by Pedro Nunes used in the piece was This piece is sung in old Chinese and uses as its text, 1998, within the “ACARTE Encounters’98”. Staging by Paula decided for several reasons: it is about celebrating his 500 fragments of the first chapter of the classic Taoist book: hundred years anniversary and the great importance he Huainan Zhi. The title refers a verse from the Tao Te King Commissioned by Fundação Calouste Gulbenkian (Serviço de Música) Azguime; live-electronics by Miguel Azguime have had in the scientific European thinking of the time; it is book by Lao Tzu. about possible relationships between mathematics and music This piece mixes traditional and millenary means (such as Conductor: GREGORY ROSE Commissioned by Fundação Oriente (and in this sense several extrapolations were made during the Chinese traditional instruments) with new technological the composition process from Pedro Nunes’s mathematical means (electronics and new instrumental techniques applied SINGCIRCLE (London / UK) Conductor: TSUNG YEH equations freely converted to music material); it is about text to traditional instruments) but the use of the Taoist text sung Soprano: Emma Preston-Dunlop, Suzanne Wilson, Natalie Raybould, Soprano: XING RUFENG manipulation, or to say it better, text re-composition. The fact in Chinese was my main interest and the possible bridge to Mary Seers Tenor: GAO YONGPING that those texts are not of a literary type allowed me much the millenary Chinese thinking. This has led me to investigate Alto: Claire Underwood, Janet Shell, Margaret Cameron, Judith Bingham freedom to reorganize them in several ways that I wanted to deeply not only the language itself (language which I believe Tenor: Tom Phillips, John Bowley, Paul Tindall, Jonathan Stoughton HUAXIA ENSEMBLE (Beijing / China) use for the musical composition. Those different approaches is the fundamental vehicle for mankind thinking) but mostly Bass: Richard Weston, Christopher Goldsack, John Ward, Michael Dore Artistic director: Li Xi’an are reflected in each of the 10 parts that constitute the whole text and music relationships and how text can influence the piece, 10 different strategies for text manipulation (in both form and the musical material. As such the whole composition Xun, Xiao, Di: Zhang Weiliang the semantic and the phonetic content) and this as led me to derived almost directly from the inner structure of the used Speakers: Ágata Mandillo, Maria Sacramento Monteiro, Perseu Mandillo Erhu: Cao Dewei the main formal aspects of the work. text. Pipa: Chen Yihan As far as the harmonic and rhythmic material are concerned, Neither a semantic constrain or a phonetic one, but the inner Sanxian: Zhao Chengwei as is common to all my music, underlining is some spectral relationships of sound and meaning, available here for the Yangqin: Zhang Xia thinking, and in this case the reading aloud of the text served compositional operations I wanted to conduct simultaneously Zheng: Chang Jin as an acoustical model for some of the parts. with the text and the music, and the applied procedures for O Centro do Excêntrico do Centro do Mundo for 16 solo voices the composition of this work happened to become a major ANTIFONIA CHOIR (Cluj-Napoca / Romania) and 2 speakers uses additionally live electronics in some of influence for all my poetry writing since then, in fact bringing the parts and although for most of it the electronic processing my musical writing and my text writing to a common path. Choir conductor: Constantin Rîpa is underneath the voices, it do serves as an important Recent works like my multimedia opera “Salt Itinerary” had Singers: Corina Maier, Lavinia Chereches, Maria Abrudan, Marina Simio- component of the final timbral result. their starting point with Yuan Zhi Yuan. nescu, Nelida Nedelcut, Adrian Sandu, Dorin Simionescu, Ion Tibrea, This piece was commissioned by the Music Department of This is a music of permanent transformation, of continuous Sorin Vacar the Calouste Gulbenkian Foundation, and had it’s first version processes of mutation, of time and space derivation, of premiered by soloists from the Gulbenkian Choir under the energy flowing. Music as a living being within the Universe. conducting of Jorge Matta at the Gulbenkian Encounters of Contemporary Music 2000. To this first version, some parts Miguel Azguime, August 2006, Berlin were revised and an extra part (part four) was added. This final version was finished in 2002 and Singcircle gave it’s 2 mcd015.06 3 computer music, giving lectures and courses on this de Compostela, Festival Escena Contemporânea – Spain; Festival NÓNIO [1998/99] field. Synthèse Bourges, Festival Novelum, Festival Mira, Festival Ébruitez- 5 flutes and live electronics Vous, Festival Itinéraire de Nuit, Festival MUSICA – France; Festival Commissioned by the Ministry of Culture In 2003 he started, together with Paula Azguime First performance: Lisbon, May 1999, Grande Auditório, Fundação (1960) Transart – Italy; Festival Audio Art – Poland; Inventionen Festival, Miguel Azguime the Portuguese Music Information Center. This same Heidelberg Festival – Germany; Encontros de Música Electroacústica de Calouste Gulbenkian Brasília – Brasil; Jauna Muzika – Lithuania; Encontros Gulbenkian de year Miguel Azguime won the 2003 EMS composition Composer, poet, and percussionist, he founded the Música Contemporânea; Festival Música em Novembro; Festival Música PULSE CODE MODULATION: uma história industrial [1996] prize. Viva - Portugal;...) flute, bass flute, percussion and live electronics Miso Ensemble in 1985, a flute and percussion duo Commissioned by Setúbal Municipal Council Miguel Azguime has been composer in residence in www.misoensemble.com recognized by the public and by the critics as one of First performance: Setúbal, February 1996, Michel Giacometti Mu- many electronic studios around the world, namely www.mic.pt seum the most important Portuguese contemporary music the Heinrich Stroebel Experimental Studio of the [email protected] groups. The Miso Ensemble has given numerous MULTIPLOS-TRANSITORIOS [1995] Sudwestfunk – Freiburg, the Electronic Music concerts in Portugal and abroad, with more than 400 marimba and live electronics Studio EMS in Stockholm, the Centre de Recherche First performance: Guimarães, June 1995, Festival da Primavera performances to date. et Formations Musicales de Wallonie – Liège, the Miguel Azguime has obtained various awards for ÍCONE VI [1992] MCD 009 Sonology Department of the Kunitachi University – percussion composition and performance. He has composed Tokyo, the TU Studio from the Technische Universität First performance: Lisbon, December 1992, ACARTE for diverse formations, instrumental and/or vocal Berlin, the International Centre for Composers in with or without electronics, electroacoustic music, ÍCONE V [1992] MCD 009 Works marimba Visby in 2007. sound poetry, and also music for exhibitions, sound In 2006 Miguel Azguime was DAAD composer First performance: Lisbon, December 1992, ACARTE installations, theatre, dance and cinema. He has Poetry: in residence in Berlin, and since then he lives and ÍCONE IV [1992] MCD 009 received commissions from several national and metal percussion, glockenspiel, sound-icon and live electronics works in Berlin and Lisbon. PARFAIRE LE BLEU First performance: Lisbon, December 1992, ACARTE international prestigious institutions *. collection of poems written in the last ten years (in French), forth- Azguime’s music has been performed by renowned * - (Heidelberg Festival - Germany, Festival
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