Vues Partielles  (1998) Montreal
Español:  "Vistas Parciales"
Este es el 3er. mto. de …connecting-1-2-etc. Vues partielles

..tomando como material de origen un viejo procesador de efectos DP4 del estudio de Montreal, elaboré diminutas “ventanas” que son como un filtro que hace pasar ese material en mayor o menor medida, por lo tanto “vistas parciales” del material original ... 
... pero también por que en esa época, tenía preguntas, conmigo mismo y con mi entorno académico, del estudio de la electroacústica y el qué y para qué de la música electroacústica, que me hacían tener una vista parcial del mundo. Y en el fondo hay un homenaje lejano a la música espectral y los compositores que la crearon. 
Por otro lado, el alto volumen de los conciertos de m. electroacústica a los que asistía en Montreal en aquella época, me parecía exagerado. Por lo que esta pieza debe tocarse, de preferencia en una sala silenciosa,  y lo mas piano y sutil que sea posible, como caricias a los oídos de los oyentes.

English:
Partial Views (1998) Montreal
This is the 3d. movement of ... connecting-1-2-Vues partielles..

From a source material of an old DP4 effects processor in the Montreal Conservatory Electroacoustic Studio, I made tiny "windows" that are like a filter that passes the material to a greater or lesser extent. So micro "partials". But also because at that time I had questions, with myself and my academic function studying electroacoustic, the why and what of electroacoustic music that made ​​me seen partially. And in the background there is an homage to the spectral music and the composers who create this music.   
In the other hand the high volume of concerts of electroacoustic music that I attending in thous times in Montreal seemed to me exaggerated. So, this piece should be played, preferably in a quiet room and as most subtle and piano as possible, as caresses the ears of the listeners...

Vues partielles (98)

Connecting - 2 (2012)
... in the same idea, some other "connections" have emerged years later ...
connecting...
"Because the error breaks the rules. It is a transgression. Opposition to the institution is established. It is what allows us to glimpse other spaces, other skies, other feelings inside and outside, no dichotomy between the two, unlike the Manichean mentality and sustained banal today.
In the research work or conflicts break test. These are the most exciting. Then comes the ritual of the concert. But perhaps it is possible to transform that ritual and waking ears.
Awakening the ears, eyes, thought, externalized internalization to maximum: this is essential today"
              					  Luigi Nono

Connecting 2 ...

Connecting...
"Because the error breaks the rules. It is a transgression. Opposition to the institution is established. It is what allows us to glimpse other spaces, other skies, other feelings inside and outside, no dichotomy between the two, unlike the Manichean mentality and sustained banal today.
In the research work or conflicts break test. These are the most exciting. Then comes the ritual of the concert. But perhaps it is possible to transform that ritual and waking ears.
Awakening the ears, eyes, thought, externalized internalization to maximum: this is essential today"
              					  Luigi Nono

... connecting ...
in that so far 1998 I came to Montreal electroacoustic studio and I wondered ... well, first you need to connect ... But why where do I start? ... and began to sprout a world ...

Connecting ... (1998)

K’isa  para quena, dos zampoñas y piccolo
K’isa alude a los tejidos andinos cuyos listones de color único, sumados producen un color resultante que es la suma de todos ellos. Por analogía , la música se construye sobre la base de la independencia de cada instrumento, que mantiene su registro fijo y se mueve en un modo pentatónico único. Es una obra minimalista cuyo elemento estático, en este caso es la textura. 


KISA (87) for flute quartet (2 zampoñas, quena, piccolo) Antara Ensemble

Sikuriada
Sur les "mille plateaux" de la haute Bolivie, le Perou et le nord du Chili, les gents sortent avec son “Siku”  pour aller se rencontrer à ciel ouvert avec leurs camarades qui, eux aussi ont leur Siku. Ces Sikus sont des flûtes de pan constitués d’un numéro variable de tuyeaux, il peut y avoir à plusieurs tuyeaux ou même à un seul, par exemple dans ce cas la les enfants sont aussi les invités. On se mette en cercle et on commence a jouer d’une mélodie en colective dont chaqu’un à son tour joue la note qui lui correspond selon son Siku. Ça se transforme suvent en une grand celebration qui peut durer jousqu’a une semaine sens intérruption.

Sikuriada c’est jouer de cette musique, mais c’est aussi le nom d’une chançone appellé ainssi, et aussi la reunion de personnes qui se ressemblent pour dialoguer. Cette aspet de réunion,, espece de “Jam Session andin”, c’est qui m’à sembler le plus approprié au travail qui fait le Ensemble ANTARA dans son bût de réunir les deux instruments, d’un côté la flûte occidental et de l’autre les flûtes andines, dans un mariage de timbres, de couleurs, des maniéres differents et finalement d’approches des cultures et des continents differents.

Quand à la piéce elle même, j’ai tenté de réunir ces deux timbres ci caractheristiques, ci proches -parce-que finalement ce sont toutes des flûtes- mais ci differents.

Au départ on confronte les deux couleurs d’une façonne violente dans un paysage mystérieux à plusieurs plans de contraste. C’est de l’intérieur de cette confrontation qui commence à surgir un autre plan sonore qui va se transformér en la “Sikuriada” à proprement parler.

Toute le long de la pièce il y a une récherche rithmique très poussé de façon à distinguer dans la masse les petits détails qui la constituent. Pour celà j’ai utiliser dans tout les arrangemments rithmiques la serie de Fibonacci pour faire de cette grande pièce une éspece d’étre vivant, qui a un corps qui réspire 

Elle est dédiée à l’Ensemble Antara et l’Orchestre François des Flûtes qui ont fait la création à Paris le 23 janvier 2003.

SIKURIADA (2003) Concerto Grosso for Andes Ensemble and Western Flutes Orchestra. Antara and OFF

“Untitled”   Three watercolours for 17 flutes
Firs World Premiere in 1985 at the Centre Georges Pompidou in Paris and in 1996 in the Darmstadt Festival, Germany. This work reflects on painting techniques and especially watercolour: The score regarded as a drawing or musical writing so take these elements: blank paper is silence, and as the more graph density increases, the more musical density is dense (in watercolour, transparency is an element that must be considered). Different features are part of this double language, forming chiaroscuros, halftone, textures, etc., resulting in a pictorial music, or in a musical painting?. 
The instruments are distributed in 17 flutes: Four groups consisting of piccolo, flute, alto flute, bass flute,  must placed around the audience with the aim of specialising sound in space. Finally, a bass flute in the centre of the sound space, the role of this  “solo” part is not a soloist part, but completes the low frequencies area. 
The title "Untitled" refers to the experience that you walks into a gallery and see the pictures, aftherwards you read the title of the picture and is… "Untitled", in this moment you are re-sended to the cerebral cortex or deep imagination of the viewer, who is seeking a degree according to the inner image you have inside your brain. Also important in this piece is when the viewer leaves the picture’s field of view and goes to the empty space of the wall going to the next picture. This empty wall space that lies between the pictures makes "timed" “fits” or "textured", integrating the rhythm of his walking-perception. All this is inscribed on this score-watercolour-sound...

 (español)
Sin Título, Tres acuarelas para 17 flautas
Estrenada en el Centro Georges Pompidou en París en 1985 y poco después en el Festival de Darmstadt, Alemania en 1986, esta obra plantea una reflexión sobre las técnicas pictóricas y especialmente la acuarela: La partitura vista como un dibujo; la escritura musical toma estos elementos de manera que el papel en blanco es el silencio y por ejemplo, a medida que la densidad gráfica aumenta, la densidad musical es mayor ( en la acuarela, la transparencia es un elemento que hay que cuidar). Así se inscriben diferentes rasgos que forman claroscuros, medias tintas, texturas, etcétera, dando como resultado una música pictórica, o una pintura musical ?. Los instrumentos son 17 flautas distribuidos en: Cuatro grupos formados por píccolo, flauta, flauta alto, flauta bajo, debiendo ser dispuestos alrededor del público con el objeto de establecer  juegos sonoros en el espacio, finalmente una flauta contrabajo al centro, el papel de ésta no es la de solista, sino que completa la zona grave del conjunto.
El título “Sin Título” alude a la experiencia del que se pasea en una galería y ve los cuadros, de pronto encuentra un cuadro cuyo título es “Sin Título” y bien esto re-envía a la corteza cerebral o a la imaginación profunda del espectador, quien busca un título acorde con el cuadro que está admirando. También tiene importancia en esta pieza cuando el espectador “sale” de un cuadro, transcurre un espacio vacío que es el muro y “entra” al siguiente cuadro. Este espacio de muro vacío que se encuentra entre cuadro y cuadro, el espectador también lo “temporiza”, integra o “texturiza” integrándolo al ritmo de su paseo-percepción. Todo esto está inscrito en esta partitura-acuarela-sonora …

"Untitled"  Three Watercolours for 17 flutes (1985) Pierre-Yves Araud & Orchestre de Flûtes Français

10 - 31 - 2014 
The first vessel was launched in 89 starting to float and still in progress, generating this space music with creative engines. That first "Vaisseau-I" was part of the CD "Inner Dance" from 89 ... the process still continues today thanks to  those much more sophisticated engines due to developments that have taken technology throughout all these years... in this case a "Lounchpad" coming from a smart phone is the simple and portable engine used. 

Vaisseau - II - Cosmic Trash

This is a only two channels from the piece "Aecstasies-Acceleration" for 8 channels

Aecstasies-Acceleration, Channels 3-4

Requiem for a bird (1994) Music by Salvador Torré for "The book of the Birds" by Alberto Blanco, dedicated to all the Birds.. who have had to depart

Requiem pour un oiseaux

TLALOQUES - Bass Clarinet Concerto.
The Tlaloques or Thunderous, Tzultacah, Tlaltsinikeh or Chicchan, are no other than Tlaloc’s little servants. They are the thirteen thunders that represent the multiplicity as an entity. They are the hail creators that perform rituals in order to attract rain. The ones that have been touched by thunders and survived.
The thunder is produced when a Tlaloque talk to each other, the lightning is the effect of the cutting of their stone hatches. They are blue skinned gods that live in caves inside the hills and connect Tlaloc’s nature with the ancient Mesoamerican cult of the earth. According to the mythical-historical legend, the origin of the Mesoamerican people was in the mythical “place of seven caves” or Chicomóztoc.
The idea for this piece unravels from there, set in four orchestral groups with a solo instrument as a leader. This leading instrument unchains or “awakens” the processes one by one building slowly through a radial system of space arranging axles (“axis mundi”), four great pillars surrounding it like four groups of tlaloques sending rain all the way through the earth’s boudaries.
At the very beginning these four pillars share the same musical spectrum: C note, to later gradually be separated into different spectrum and their mobility. Once each corner of the world or pillar or module or instrumental group is personalized, each one plays with its new mobility, gradually setting a modular exchange and sound spectra concluding with a spatial spiral acceleration.

TLALOQUES  BassClarinet Concerto (2003)

Black Stone, nocturnal reflective smoke mirror where priests reflected, maidens and symbolically the people that remain in the history and memory of mythical Tamoanchán.
This is about a Mesoamerican Calendar folded onto itself
(130 x 2 = 260 x 2= 520) inside of which every symmetry is perfectly planned in order to create mirrors. Mirrors in the space (pitches), mirrors in time (durations), mirrors in the musical form, in orchestration and in the disposition of the pauses. The latter’s purpose is to frame the sections of the piece as many faces/sides reflected and reflective of the mirror.
On the first moment of this piece all the energy is unleashed on a highly compacted sound object (Schaeffer-Bachelard) in which we can appreciate the germ of the piece and as the “smooth” time (Boulez) elapses, we enter in this sound universe, being able to appreciate the diverse faces inside the mirror.
Symbolically we are witnessing in a very succinct way the great cycle of 5,200 Mayan years, that is to say, thirteen “Baktunes” of 400 years each. For instance, this factor is musically represented on the introduction of the Frequency Modulation of the central part of the piece, climax of the historic Mayan people (631-683 A.D.) to later disappear through the cosmic mirror of the night, through the mirror of time. 
This piece is dedicated to the people of Chiapas.

Obsidian Mirror for 7 instruments and real-time electronics (1997)

Architecture is music, expressed in Sounds, through Time and in Space. In the case of the Piranesi's  "Carceri d'Invenzione" music is ... Prisons... of Sounds, in Time and Space.

Carceri d'Invenzione

Carceri d'Invenzione - 1.b

This is a piece that came from a collective of RedAsla (Latin Sound Art Network). Members had contributed with several small fragments of 15 seconds. The material I found was very interesting, hence I took two of them, Alejandro Albornoz and Julio Shalom, whom I thank for the raw material. 
First, I transform the material in even more fragmented taking particles of less than a second, and then "re-read" differently, lengthening, multiplying, accumulating spatializing massing the material in an 8-channel, always bearing in mind the musical form. There is a wink and of course a tribute to a group and one of their albums that I admired and listened to infinity in the '70s, Yes

Salvador Torré- Electroacoustic music

PURPLE ISLE

La composition de « Eye-Oeil-Ojo-Auge » pour quatre voix, fl. bn. vc. guit. hpe. sur des textes de Wittgenstein, demare à l’incise 5.6331 du Tractatus Logico-Philosophicus, l’œil qui s’ouvre. Mon étonnement et ma découverte de ce texte me paressaient difficile. Je me suis dit donc, pourquoi pas, pour m’éclaircir et mieux comprendre ce texte, faire une composition sur les textes du Tractatus en quatre langues diférents, ¡voir si je pouvais mieux comprendre!. Le première accord de la pièce démarre donc à l’insise (5.6331), l’œil  s’ouvrent comme une ouverture du discours musicale, puis je reviens au debout dans l’ordre du Tractatus en dispossent les sept insises principales du Tractatus dans les different sections de la pièce sous une disposition temporelle basée sur les proportions d’or de Fibonacci (à chaque section importante, un insise commence) en finissent logiquement la pièce avec l’insise 7 « Sur ce dont on ne peut pas parler, il faut garder le silence ». Silence musical aussi qui clôt la pièce avec une citation cachée du Pierrot Lunaire de Schoenberg. La soprano chante en anglais, l’alto en français, le ténor en espagnol et le baryton dans la langue originelle, l’allemand. Les sonoritée issuses des consonnes m’ont intéressé principalement en exploitant toute la gamme de sons à la frontière du bruit, ou à la frontière du compréhensible ou « véritable » jouent dans l’ambiguïté du compréhensibles et sonores pures. « Quand une proposition nous est donnée, sont aussi données, avec elle, les résultats de toutes les opérations de vérité qui la prennent pour base. » (5.442). En introduisent le discours musicale je me demande si cela ne brouille la compréhension ou si il l’habille en éclaircissent la Vérité ou pas...

Eye-Oeil-Ojo-Auge  (Wittgenstein)

Appeared World or recicled wastes
This piece is what an abandoned closet can contain, the garage that one enters and discovers objects that did not remember ages ago, but they was always there, frozen, congealed: Recicled wastes: Suddenly before us everything is an appeared World ! the landscapes with their horizons, everything take life, world of old objects, that trigger manifolds memories, also history, like the small but already releases history of electroacústic music, all that is between the dust, the old acetate disc that we did not remember, with his parasitic sounds… and which they are possible to be turned into this piece: the old farm of the grandfathers who contained all gurgleing, warbleing, miaowing, braying sorts of sounds that animal and beasts can produce, airplanes and sounds of human machines can enter too.
Everything is possible in this eclectic celebration, in this carefree piece (the edition is  deliberately “neglected”) where everything can enter, from the objects to the thoughts, the memories too, also the surrounding landscape that weaving this kind of Biology of sounds. That is why this piece is bether to be diffused in outdoor spaces, is necessary to calibrate the sound to the intensity of the surrounding sounds.                        


Appeared - World - short version

Salvador Torré is a composer and multidisciplinary artist. Composition Professor at the National Conservatory of Music of Mexico. He has a doctorate in Sorbonne University-Paris-VIII. 

All through the Paris of 1980s  Salvador Torré study with practically all the European composers active at that time, Messiaen, Xenakis, Ligeti, Stockhausen, Berio, Boulez, Ferneyough, Grisey, Murail, Taïra, Betsy Jolas , Sergio Ortega, Group of the GRM, IRCAM, Superior Conservatory of Paris, etc.

In 1998 he is invited as a resident professor for one year at Montreal Conservatory of Music in Canada.

As a composer, he has won awards around the world, we can cite the 1st. Composition Prize awarded, performed and recorded by The London Schubert Players in London England for the work "Clouds".

Salvador Torre's works have been performed among other places, in the United States (New York, San Francisco, San Diego) in London (Royal School of Music) in Paris (Georges Pompidou Center) in Germany (Darmstadt Festival) Canada, Japan, Finland, Romania, Slovenia, Chile, etc. and in the most prestigious festivals in Mexico. 
His works have been recorded through more than fifteen CDs. 

He is professor at the National Conservatory of Music of Mexico from 1990 to date and since 1997 a member of the prestigious distinction that his country gives him, the National System of Art Creators.

Salvador Torré - composer

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