Iracema De Andrade | Electroacoustic Voices

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Avant Garde: Electro-Acoustic Classical: Contemporary Moods: Solo Instrumental
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Electroacoustic Voices

by Iracema De Andrade

New music for cello and electroacoustic sounds.
Genre: Avant Garde: Electro-Acoustic
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  Song Share Time Download
1. Songbirds
Judith Shatin
3:33 $0.99
2. Sapsuckers
Judith Shatin
3:53 $0.99
3. Birds of Prey
Judith Shatin
2:54 $0.99
4. Water Birds
Judith Shatin
3:40 $0.99
5. Mamma
Francisco Colasanto
6:40 $0.99
6. Força D’amor
Georgina Derbez
8:22 $0.99
7. Between Lines
Monty Adkins
10:09 $0.99
8. Wings of Fire
Barry Truax
13:59 $0.99
Downloads are available as MP3-320 files.


Album Notes
As a young girl, I imagined sounds as ubiquitous, magical beings.Some of them always occupied the same space, but others sprang out in surprising and unusual ways. I was always attentive to these new manifestations, which revealed themselves as fireflies in a moonless night, as imaginary and fleeting specks of light visiting the dreamland of my ears.
Completely unaware of the outstanding feats achieved several decades earlier by Pierre Schaeffer on the other side of the Atlantic Ocean, I grew up fascinated by all kinds of sounds: voices, leaking faucets, empty cans, the wind before a tropical storm, the night rain, echoes, resonances, cacophonies, rumbles, whispers, noise, silence… I intuitively practiced some kind of childlike “reduced listening”. I observed with curiosity the peculiarities and topographies being revealed to me through these manifestations of sound, just for the simple listening pleasure that this childhood game afforded me. More than unexpectedly, those childhood sounds have come back to become a part of my professional practice through electroacoustic music. Multiplied, transmuted, enhanced, and accompanied by other sounds, my cello and I can now interact and merge with these sounds in an infinite celebration of incessant sonic metamorphoses.

ELECTROACOUSTIC VOICES is a project that includes five works by composers from different countries and musical backgrounds. Here, their personal language as creators is not only expressed through their respective works, but is also accompanied by unique voices – melodious birds, madrigalists and church bells, the quiet mournings of war, the Neapolitan song of a nostalgic immigrant, and lovers entwined in delirious passion – all taking on a life of their own as they emerge as sound-filled prodigies to tell their own story.

In For the Birds (2005), Judith Shatin (USA, 1949) reminds us of the connection between the human world and that of birds, the union between the ethereal and worldly dimensions, by combining the voice of the cello with the sounds of birds, and reconfiguring these voices to reflect the transformative power of music itself. Beyond a musical imitation of the sounds of nature, this work seeks to achieve their digital transfiguration until they become unrecognizable, giving way to the creation of an almost dreamlike atmosphere. Each movement uses the voice of a different bird, determining the instrumental technique required to capture the transitions between the sounds of the cello and the sounds of songbirds, woodpeckers, birds of prey, and waterfowl. For the Birds is both a tribute to the birds of the US National Yellowstone Park, and a playful reference to the book by the same name written by John Cage. This work was commissioned by cellist Madeleine Shapiro.

Mamma (2012) by Francisco Colasanto (Argentina, 1975), is a piece inspired in the Neapolitan song bearing the same title by Cesare Andrea Bixio. This work uses fragments of an old family recording of this Neapolitan song, in the voice of the composer’s father – back then a young 12 or 13 year-old Italian immigrant who had recently arrived to Argentina.The electroacoustic material of this piece is crafted with sounds that resemble the noise made by old vinyl records when played. In this sound context, the composer seeks to give the impression of the singing voice trying to make its way to us through the noise, while the cello, which begins with small fragments emanating from the original melody, ends up merging with the recorded voice and becoming the voice of the singer himself. In the composer’s own words: “To me, this image represents the memory of my father trying to go back after so many years.” This work also intends to build a bridge between the reality of immigrants shared by father and son, albeit in different times and geographic circumstances. Mamma was commissioned by Iracema de Andrade.

In Força d’Amor (2012), Georgina Derbez (Mexico, 1967) invites us to travel to the distant past through the beautiful madrigal Un Pellegrin Uccel by Don Paolo da Firenze (1355-1436), using small fragments of this piece to give birth to the electroacoustic universe of her work. Here, the cellist’s singing and spoken voice, intertwined with the sounds of the cello, expand the sound fabric proposed in the recording, all of which combine to create a “virtual timbre.” The resulting ambiguities in timbre subtly challenge the listener’s logic, in a manner similar to how viewers are challenged by juxtaposed planes and impossible vanishing points in Escher’s engravings. Força d’Amor was commissioned by Iracema de Andrade.

Mathew Adkins (England, 1972) composed Between Lines (2009) during an arts residency program at Zentrum fur Kunst und Medientechnologie, in Germany. According to a small plate on the outside wall, the wonderful building that currently houses this institute was once used as a forced-labor ammunition factory during World War II. Crossing the building itself, there are two pieces of wood marking the original railways that were used to transport raw materials across the factory. From a certain viewpoint, one can see the entire 300 meter-wide building end to end, and can only but imagine the despair and loneliness of former factory workers. The sound universe of this piece is framed not only by electronics and the instrument, but also by dark resonances that seek to recreate the atmosphere that most likely prevailed within this space in times of war.

Wings of Fire (1996) by Barry Truax (Canada, 1947), incorporates a reading by Ellie Epp of the poem Wings of Fire by B.C. poet Joy Kirstin. In this work, the cello represents the lover alluded in the poem and is the source of the material used in the electroacoustic part, made up of small fragments of bowing on the cello bridge, natural and artificial harmonics, pizzicatos and col legno attacks. Other electroacoustic materials resembling string instruments are actually synthesized sounds produced with digital resonators that mimic the behavior of strings, each tuned to the notes of open cello strings. These resonators are used to process the sound of both the cello and the text until they reach a certain point where the voice and the instrument are fused into a single sound element. Wings of Fire was commissioned in 1977 by the Vancouver New Music ensemble.

Iracema de Andrade, cello.
Iracema de Andrade is an astoundingly versatile performer with a strong commitment to the music of her time, as evidenced by her advocacy to furthering theoretical and practical knowledge of the contemporary cello repertoire. To such effect, she has taught courses and workshops on new instrumental resources and the use of new technologies at renowned institutions
such as the Mexican Center for Music and Sound Arts (Morelia, Michoacán), the National School of Music of the National Autonomous University of Mexico, the Higher School of Music of the National Institute of Fine Arts, and the Electroacoustic Music Festival Peninsula Sonora in Mérida, Yucatán. In her work to promote electroacoustic music, she has managed projects such as the Mexican Electroacoustic Music Seminar at the “Carlos Chávez” National Center for Music Research, Documentation, and Information of the National Arts Center, in a capacity as project coordinator. Highlights of her work as a lecturer include several participations in different editions of the “Manuel Enríquez” International New Music Forum, as well as at the Electroacoustic Music Studies International Conference – EMS, and the University of Sorbonne in Paris. As a writer, her works have been published by Pauta Cuadernos de Teoría y Crítica Musical, Ideas Sónicas/Sonic Ideas, EMS – Conference Proceedings, Observatoire Musical Français, Musicologie, Informatique et Nouvelles Technologies of the University of Sorbonne in Paris, and the digital magazine VÓRTEX of Pesquisa e Pós-Graduação em Música of the School of Music and Fine Arts of the State University of Paraná, Brazil. Furthermore, her commitment to training young musicians has been reflected in the organization of festivals, including the 1st Cello Week at the Higher School of Music and the 2nd National Meeting “En Torno al Violoncello” at the National School of Music of the National Autonomous University of Mexico. Her aim to expand the sound boundaries of her instrument has led to the birth of original projects where the traditional repertoire coexists with works of recent production and the practice of improvisation. She has also received several institutional grants in Mexico and abroad to perform contemporary cello music recitals. On a number of occasions, she has been awarded fellowships by the Program for the Promotion of Cultural Projects and Joint Ventures and the Program for Performing Arts Creators of the National Fund for Culture and the Arts, and she has also received grants from the Arts Teaching, Research, and Dissemination Support Program of the National Arts Center. Her recordings include: Electro-Acústico: Obras para Violoncello y Sonidos Electroacústicos, which received two Latino Grammy award nominations in the contemporary music category, Cello Alterno: Música Mexicana para Dos Violonchelos y Piano, and En Torno al Violoncello. Iracema de Andrade holds a PhD in Music Performance from the National School of Music of the National Autonomous University of Mexico, graduating with honors and specializing in the field of contemporary cello repertoire and electronic media. She was also awarded the 2010 “Alfonso Caso” Academic Achievement Medal by the National Autonomous University of Mexico for outstanding doctoral studies. In England, she obtained a Master’s Degree at Thames Valley University, as well as a Fellowship Diploma and Certificate of Advanced Studies at the London College of Music. In Brazil, her native country, she studied at the University of São Paulo, where she earned her Bachelor’s Degree in Music after having begun her musical studies at the State Conservatory of Music “Juscelino Kubitschek de Oliveira” in Pouso Alegre, Minas Gerais. Since 2000, she has worked intensively as a cello teacher at the Higher School of Music of the National Institute of Fine Arts.



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