Various Artists | Guillermo Eisner: Música de Barrio

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Guillermo Eisner: Música de Barrio

by Various Artists

Chamber music. The trip that is also a landscape. The blurred images of a distant past and to the ghostly horizon of the future. The forgotten paths and the imaginary walking in unknown places, perhaps around the corners that I will have to wander
Genre: Classical: Chamber Music
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  Song Share Time Download
clip
1. Primeros Cantos
José Luis Urquieta
7:16 $0.99
clip
2. Estampa
Andrés Pantoja
6:42 $0.99
clip
3. Plaza
Carmen Troncoso & Felipe Cussen
6:21 $0.99
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4. Rio de las Lluvias
Marcela Lillo & Felipe González
7:41 $0.99
clip
5. Domingo
Eugenio González & Andrés Pantoja
7:02 $0.99
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6. Sur
Alejandro Lavanderos, Jorge Garrido, Constanza García & Fernando Figueroa
9:31 $0.99
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7. Monólgo
Marcela Lillo
7:08 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Guillermo Eisner
"Música de Barrio"

The trip that is also a landscape
"The story begins at ground level, with steps" (Michel De Certeau). This is the enigmatic phrase that reappears in my head when I hear música de barrio. I look at the window and observe the pedestrians who walk distracted in a barely perceptible rain, without knowing clearly to which origin the sharp teeth of the Primeros cantos summon me.
If they asked me to summarize in a single word the sensations that this music provokes me, I would probably think of "nostalgia". Not any kind of nostalgia, but one that refers us simultaneously to the blurred images of a distant past and to the ghostly horizon of the future. So, while I listen to the nervous chords of Domingo or the guttural breaths of Plaza, I get confused between the forgotten paths of my childhood and the imaginary walking in unknown places, perhaps around the corners that I will have to wander, when the notes of Monólogo fade out.
Isn´t a magical attribute of music, to transit through time without respecting linear directions? As if laughing at our eagerness to invent a story in which the before and after are differentiated temporal dimensions, the sounds of this barrio reaffirm their passion for the passage of mistime. Perhaps it is a perpetual present, elastic and inseparable, but it is also possible that it is a strange multitude of times superimposed, unknown, indecipherable. Or maybe we have to stop talking about time, to simply think of a listening space that is constructed from our steps: those anachronistic footsteps that drag incessantly, in a story that resists any attempt to narrate it.
Perhaps for the vices that afflict the musicologist, I have come to believe that the a-temporal becoming of Guillermo's music, is a reflection of the place it occupies in a historical moment in which times and geographies are difficult to encapsulate. Tired of evolutionary narratives, skeptical of the order that distinguishes and classifies the "higher music" of the "inconsequential sounds", we have reached the zero point in which the before and after are mixed without annulment, and in which, the memories of Uruguay, Mexico and Chile converge in the memory of a composer who renounced to the taxonomic location of the cartographer, and has opted to fuse the Renaissance counterpoint with a timbre weave in which flashes of noise appear.
We do not know which maps will emerge from the course of our steps, as each listener will draw the disordered trajectories of their barrios. Probably later, when the rain stops and the purring of the turntable announces its end, there will still be a Estampa, a picture that synthesizes our experience. One that serves as a postcard to the nostalgia for the landscapes that we traveled, that we will travel, that we are walking in the same moment in which a note slips through my window... and little by little it begins to evaporate.
What journey does the music of Guillermo Eisner propose to us?
Roberto Juarroz responds:
El viaje hacia otro espacio sin paisaje
el viaje que también es un paisaje
pero niega el sentido del paisaje
como algo que se mira y se abandona1.

Jorge David García


1. Primeros cantos (2016) to Pedro.
How and wich will be the sounds the child hears in the womb? How will his voice be heard in that watery environment? How does it resonate? How is it projected outside? Here I venture a sound proposal before these questions that accompanied your wait.
José Luis Urquieta, Oboe.


2. Estampa (2014)
Composition based on Caprice 43 by Francisco Goya: "The dream of reason produces monsters". The visual work is in technical terms a stamp, hence the title of the piece. The composition corresponds to a theme with variations, where theme and accompaniment, in its different versions, are elements that are opposed, putting in music, the conflict between faith and reason presented by Goya in his Caprice. The work is open in terms of the use of heights and presents a journey through different textures and technical possibilities of the guitar.
Andrés Pantoja, Guitar.


3. Plaza (2014)
Piece for two recorders that presents different looks from a space as common and habitual as a plaza is: meeting place; open space; private/public; games; children; animals; wind; vegetation. Through the exploration of the timbral resources of the instruments it is sought to account for some of the possible ways of observing this space.
Carmen Troncoso, Tenor / alto Recorder.
Felipe Cussen, Bass Recorder.


4. Río de las lluvias (2017)
River of the rains, Maule River in Mapudungun, is dedicated to Chak Dúo Percusión y Piano. The work presents a sonorous and subjective recreation of the course of the waters of the Maule River, from its source in the mountain range to its mouth in the sea, facing Constitución. From a distant thread of sound to great sonorities of piano and marimba; from quiet sections, almost quiet, to moments of great movement and agitation; the sound and musical resources put in work, seek to recreate this subjective journey through the Maule River, the River of the rains.
Chak Dúo Percusión y Piano:
Marcela Lillo, Piano.
Felipe González, Marimba.


5. Domingo (2012)
The title of this work not only refers to the day of the week that bears the name sunday, but also, and to a greater extent, refers to the sensation that awakes in me the street in which I live, when any day of June, after the first rains, is upholstered with leaves.
Eugenio González, Guitar 1.
Andrés Pantoja, Guitar 2.

6. Sur (2013)
“The point of America, from now on, forever,
insistently points to the South, our north.”
Joaquín Torres García
The work takes the idea of South as the end, the place of destiny, the desired space, the refuge. This concept is put into music through instrumental mutation, transiting from the quartet of transverse flutes (from the north) to the combination with sikus (representative of our continent, of the south), as a metaphor of the miscegenation that defines us.
Ensamble Antara:
Alejandro Lavanderos, Flute G / C.
Jorge Garrido, Flute C.
Constanza García, Flute C / Sikus.
Fernando Figueroa, Bass Flute / Sikus.


7. Monólogo (2012)
Music composed as part of the theatre play "Calderón" by Pasolini. This music dialogued on stage with Rosaura's final monologue: "This time I remember my dream, but I'm so happy, and more even so, for what the dream told me..." (Pasolini). This musical monologue represents, in my case, the first time that I turn the music composed for a theater play, into a concert work, what gives account for a reciprocal enrichment between my musical practice and my theatrical practice.
Marcela Lillo, Piano.


Recorded, mixed and mastered in Estudio Madreselva by Alfonso Pérez, between 2014 and 2018.
Río de las Lluvias and Monólogo were recorded in the Isidora Zegers Hall of the University of Chile by Luciano Valdebenito. Recording Assistant: Juan Manuel Pérez.
Design: Vicente Cociña.
Co-production: Andrés de Robina - Cero Records.
Translation: Lucia Leonor Enriquez.

Guillermo Eisner Sagüés (Uruguay, 1980)
Composer formed in Chile, with postgraduate studies in Chile, Spain, Portugal and Mexico. He has developed acoustic and electroacoustic concert music, participating in festivals in South America, North America and Europe. In 2017 he premiered the chamber opera: Titus at the Teatro Helénico, Mexico City. In 2015 he published the book: guitarrerías. 10 monotemas para guitarra; and premiered the chamber opera, La Isla de los peces, at the GAM Cultural Center, Santiago. In the year 2012 he released the electroacoustic music recording, habitar el tiempo, on cd. Along with this, he has developed an intense creative work in the field of performing and audiovisual arts, composing music and sound design of various plays, dance and video dance projects.
He is currently studying the Doctorate in Music, in the Musical Composition field, at the National Autonomous University of Mexico (UNAM). Since 2019 he is a professor in the Department of Sound of the Faculty of Arts at the University of Chile.

guilleeisner@gmail.com
https://soundcloud.com/guilleisner

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