{"id":1883,"date":"2020-03-01T12:38:08","date_gmt":"2020-03-01T12:38:08","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1883"},"modified":"2023-07-10T14:36:09","modified_gmt":"2023-07-10T14:36:09","slug":"senderosque-bifurcan-2002-03-urbana-19","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/senderosque-bifurcan-2002-03-urbana-19\/","title":{"rendered":"Senderos\u2026que bifurcan (2002-03) (Urbana 19)"},"content":{"rendered":"

Forking Paths\u00a0 (Urbana 19)
\n<\/b>For soprano, saxophone and electronics<\/strong><\/p>\n

To Claude Delangle<\/span><\/em><\/p>\n

Commissioned by Soci\u00e9t\u00e9 Selmer<\/span><\/p>\n

This work is part of the Urbana Cycle<\/strong> (25 works from the solo electronics to the orchestra which have in common the relationship with the town, the urban space).<\/span><\/p>\n

The work follows a multitude of paths regarding the relative time or a parallel time, which is also present in the almost homonym Borge’s \u00abEl jardin de senderos que se bifurcan \u00bb<\/strong><\/em> [“The Garden of Forking Paths”].<\/span><\/p>\n

In a technical point of view, this work is historically the first conceived and realized entirely in a surround system (in 5.1). The whole electronic material was recorded and processed in a multichannel system.<\/span><\/p>\n

Divided into five large sections of circa 2 minutes, the piece explores the different faces of the coexistence, the player’s time and a multitude of sounds as an echo more or less near the main instrument. There are many layers of pre-recorded saxophones (the soprano but also the alto, baryton and the Tubax) which really are counterpoints or counter-words. But there is also a microtonal piano, the air of a bicycle pump, horses, planes, and many other parallel universes.<\/span><\/p>\n

From the protagonist’s role of the player, the audience will be led to discover the multiple paths of the discourse, between an active hearing and a contemplative distance.<\/span><\/p>\n

Luis Na\u00f3n<\/span><\/p>\n

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