| $10.68
new to stock as of
january 12th, 2007
threads:
electro-acoustic-composition
musique-concrète
modern-composition
1960s-electronic
1950s-electronic
sound-poetry
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| | | creel pone (argentina) #creelp dianda cd hilda dianda / nelly moretto / luis maria serra “musica electroacustica” compact disc recordable - hilda dianda: “a-7” (15:09) 1964
- hilda dianda: “dos estudios en oposición” (6:19) 1959
- nelly moretto: “composición 9b” (8:56) 1966
- luis maría serra: “invocation” (11:33) 1969
| second creel pone of the year; a reproduction of this dynamic 1970 lp, originally co-released by the (deep breath) “municipalidad de la ciudad de buenos aires”, the “secretaria de culturia” and the “ls 1 radio municipal de la ciudad de buenos aires” in a tiny internally-distributed edition, consisting of four extended pieces by argentinian composers hilda dianda, nelly moretto, and luis maría serra from the tail-end of the 1950s through the end of the 1960s...
the underlying theme that binds these 4 pieces is most certainly their use of space - especially notable in hilda dianda’s opening piece “a-7” - a lone cello plucks out an atonal array of notes with only the occasional eruption of tape-sound to keep them company... on her “dos estudios en oposición” the tape-sounds are left to themselves in a shining display of restraint coming across like a lost luigi nono tape piece (albeit considerably more subdued)...
on the “flip”, nelly moretto introduces her “composición 9b”, a creepy blend of spoken word/sound-poetry with filtered noise and extensive tape processing, occasionally piling up into a giant jumble of disembodied voices; a spectral choir... finally, luis maría serra’s “invocation” works a few dissonant plucked guitar notes & string-scrapes into a powerfull morass of shifting pings and grinding metal; a notable guitar/electronic forebear...
prior to the arrival of this sublime creel pone i’d never heard of any of these composers - once again a grand eye/ear-opening measure c/o mr. p.c. c.p... |
| | creel pone press release... |
| this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve
...
hilda dianda
born in córdoba, in 1925.
she composed: 1959, “dos estudios en oposición“; 1964, ”a 7” for cello and tape in the electronic music lab of san fernando valley state college in northridge; 1975-1976: “… después el silencio …“.
in 1964 dianda composed ”a 7” for cello and tape, working at the electronic music lab of san fernando valley state college in northridge, california. the tape part for this mixed composition was produced using the cello as the only sound source, recording emma curti on the instrument and later applying electroacoustic techniques to the raw materials. the number 7 on the title comes from the number of sound sources on concert: 3 stereo tape recorders plus the cello performer.
during 1975-1976 hilda dianda composed “… después el silencio …“ using electronic sounds and analog techniques at cicmat in buenos aires. and in 1984 she composed at lipm “encantamientos”, a long work structured in three movements, using the synclavier digital synthesizer.
nelly moretto
born in rosario, 1925; died in buenos aires, 1978.
she composed “composición 9a” for two intrumental groups, tape, dance and lights in 1965; "composición 9b" for tape in 1966; “coribattenti” for string quartet and tape in 1967; “composición no.13: in memorian j. c. paz” for trumpet and tape in 1972; and “composición no.14: bah! le dije al tiempo” for violin, trumpet, piano and tape, between 1974 and 1975.
luis maria serra
born in lanús, 1942; was studying at claem – instituto di tella between 1967 and 1968; in 1969 went to paris to study at grm with pierre schaeffer, françois bayle and bernard parmegiani.
during the 70s he founded together with susana barón supervielle and lionel filippi the studio arte 11 - atelier de realizaciones técnico electroacústicas. serra together with susana espinosa and jorge padin were on the directive team until the studio closed in 1978.
among other works he composed: “tenebrae factae sunt” for tape in 1968; “canto de los suplicantes” for orchestra, chorus and tape, and “invocation” for tape, both in 1969; ”abismos” for piano and tape in 1970; “ipse” realized at arte 11, and “soles” realized at gmeb in bourges, france, both pieces for tape, in 1971; “q’ura k’ura” for tape in 1973, realized at gmeb in bourges; “visiones” for tape in 1976, realized at arte 11; “cántico de las creaturas” for tape between 1981 and 1983, realized at his personal studio; “obertura y alabanza” in 1984; “melólogo i” and "poblaciones", both in 1987; “a.m.a. deux” in 1991; “impromptu” for tape in 1993; “marina – de un tiempo de verano” in 1998; and “invierno de plata” in 2002.
luis maría serra is also widely recognized for his film music. |
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