Image may be NSFW.
Clik here to view.
Uno de los compositores contemporáneos mas relevantes de nuestra epoca. Eduardo rompe la barrera del sonido puertorriqueño con técnicas particulares como retro-alimentación (feedback) de una lata de café en una capilla de la antigua marina española y sonidos generados por un juguete de Santa Claus manipulado electrónicamente.
Pero no nos podemos dejar confundir por estas cosas, el cuidado con la estética y la estructura diferencia al trabajo de Eduardo de otros proyectos “similares” que participan de géneros tales como el Noise, o una mera escusa de un reguero sonoro sin propósito.
La disquera en-linea Pan y Rosas ha añadido el disco de Eduardo a su coleccion para descarga gratuita.
Descarga AQUI
De la pagina de Pan y Rosas:
loose rattle percussion. tube crash inside the piano. metal scrape construction. objects falling. electronic feedback language. long tone brass breath conversation. squelch vibrations. swarm echo. bass sweep drone. treble feedback sculptures.
author’s notes
I – is an arrangement i made of a composition that was originally 27 minutes long called sweating imperialism, created for nibia pastrana santiago‘s master’s choreographic thesis at the university of illinois at urbana-champaign. it was part of a bigger project called sweat, which consisted of 7 different performances; this particular one was carried out on march 10 at the krannert center for the performing arts. this shorter version was made for my undergraduate recital at the conservatory of music in puerto rico. i removed a layer of interviews nibia had conducted in panama of women after the us intervention, which was strictly part of her thesis, and proceeded to divide the composition by two and juxtaposing both halves.
II – a friend of mine began a new life as a sailor and left a trumpet and a tuba at my apartment, so I did several recordings of amateurish efforts at playing these. most of the time, i had in mind witold lutoslawski’s use of the brass in his cello concerto, although only on a referential basis because not as much could be accomplished. but what i was really interested into was getting random fragments of timbrical-oriented thrusts and accidental mouthpiece play. to this i added spontaneous appearances of feedback generated with my own audio interface and a recording of a destroyed piano artist araceli pino found in front of a house in san juan. this composition’s première was held on october 14 at sala jesús maría sanromá of the cmpr, with a juxtaposition of texts by wolf vostell, gustav metzger and ernesto “che” guevara, as a remembrance of the 50 years of the cuban missile crisis and vostell’s 80th anniversary.
III – this is a combination of two performances: a live recording of me with a circuit bent dancing santa claus and an open boss flanger bf-2 which worked better used “incorrectly;” plus a feedback piece i made for a contemporary art exhibition called serie regional de jugadores pamper III.
music composed and performed by:
eduardo f. rosario
araceli pino – piano on II
xiommy rohena – trumpet on II
thanks to:
jeffrey concepción, sharmyn cruz, nibia pastrana, manuel ceide, xiommy rohena and my parents.
tracklist
01. I 02. II 03. III