Bestiario: dos
for violin, tenor saxophone, and electronics
12,00 €
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Specifications
Region
Latinoamérica
Estimated Duration
6 - 10min
Date
2019
ISMN : 979-0-2325-4461-8
Notes on this piece bestiary (noun)
bes·ti·ary | \ ˈbes-chē-ˌer-ē, -ˌe-rē, ˈbesh-, ˈbēs-, ˈbēsh-\
plural bestiaries
Definition of bestiary
1 : a medieval allegorical or moralizing work on the appearance and habits of real or imaginary animals
2a : a collection of descriptions or representations of real or imaginary animals b : an array of real humans or literary characters often having symbolic significance1
Bestiario (“Bestiary”) is a collection of pieces in which the performers are asked to embody an imaginary animal through sound. In a way, this animal participates in the composition process as it gradually reveals itself in its sonic qualities which help dictate the work’s discourse (form, techniques, contrasts, gestures, etc.) This means that this imaginary animal has agency in the work, which leads me to make decisions that I would not have otherwise made. Along with other collections of pieces (such as Dialectos de Árbol or "Tree Dialects"), this Bestiario is one of my attempts to remove the human—as a concept—from the center of attention and to ‘de-humanize’ my ear in order to be able to better listen to those types of others who rarely are considered as equal subjects.
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bes·ti·ary | \ ˈbes-chē-ˌer-ē, -ˌe-rē, ˈbesh-, ˈbēs-, ˈbēsh-\
plural bestiaries
Definition of bestiary
1 : a medieval allegorical or moralizing work on the appearance and habits of real or imaginary animals
2a : a collection of descriptions or representations of real or imaginary animals b : an array of real humans or literary characters often having symbolic significance1
Bestiario (“Bestiary”) is a collection of pieces in which the performers are asked to embody an imaginary animal through sound. In a way, this animal participates in the composition process as it gradually reveals itself in its sonic qualities which help dictate the work’s discourse (form, techniques, contrasts, gestures, etc.) This means that this imaginary animal has agency in the work, which leads me to make decisions that I would not have otherwise made. Along with other collections of pieces (such as Dialectos de Árbol or "Tree Dialects"), this Bestiario is one of my attempts to remove the human—as a concept—from the center of attention and to ‘de-humanize’ my ear in order to be able to better listen to those types of others who rarely are considered as equal subjects.
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El ciclo Bestiario (al cual pertenece esta obra), es un conjunto de piezas cuya premisa inicial es que los intérpretes “corporalicen” a un animal imaginario a través de sonido. Este animal—de alguna manera—participa en la composición de la obra ya que, una vez encontradas sus cualidades sonoras, ayuda a dictar el discurso de la obra (forma, técnicas, contrastes, gestos, etc). Junto con otros ciclos de piezas (por ejemplo, los Dialectos de Árbol), este Bestiario forma parte de mis intentos para remover del centro de atención al humano; “deshumanizar” el oído para así poder escuchar mejor a aquellos otros a los que usualmente no se les escucha.
Instrumentation
Saxophones|Violin|Electronics
Recording
Recording- performed by Hannah Christiansen and Brandon Quarles at the Bienen School of Music (Northwestern University)
Recorded by Luis Fernando Amaya
Recorded by Luis Fernando Amaya
Score Details
Format - A4 / US Letter
Pages - 12
Pages - 12
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