{"id":1418,"date":"2019-09-08T11:10:37","date_gmt":"2019-09-08T11:10:37","guid":{"rendered":"https:\/\/luisnaon.com\/prensa\/"},"modified":"2023-07-10T12:37:15","modified_gmt":"2023-07-10T12:37:15","slug":"prensa","status":"publish","type":"page","link":"https:\/\/luisnaon.com\/es\/prensa\/","title":{"rendered":"Prensa"},"content":{"rendered":"

> P R E N S A\u00a0 E S C R I T A<\/h4>\n
\u00a0<\/div>\n
REVISTA OTRA PARTE<\/span>
\n<\/strong>1\/10\/2015<\/em><\/div>\n
\u00a0<\/div>\n
\n

Quedarse y\u00e9ndose. A prop\u00f3sito de la m\u00fasica de Luis Na\u00f3n<\/h4>\n

Abel Gilbert<\/a><\/p>\n<\/div>\n

\"\"<\/em><\/a>\u00a0El descubrimiento de la m\u00fasica de Luis Na\u00f3n\u00a0\u00a0a partir de\u00a0Lascaux exp\u00e9rience\u00a0<\/em>(rese\u00f1ada por Mart\u00edn Liut en Otra Parte<\/em> N\u00ba 25, verano 2011-2012), supuso un ejercicio m\u00faltiple y fruct\u00edfero: incit\u00f3 a reconstruir el camino que este compositor nacido en La Plata en 1961 hab\u00eda emprendido desde su inserci\u00f3n, a principio de los a\u00f1os ochenta, en la escena musical francesa. Desde entonces, he tratado de no perder el rastro de sus pasos sucesivos. La reciente presentaci\u00f3n en el Centro Experimental del Teatro Col\u00f3n (CETC) de\u00a0Portraits crach\u00e9s<\/em>, una obra multimedia de 2013, y la escucha de\u00a0Princesses<\/em>, un disco doble editado en 2015 y grabado por el ensamble Ars Nova,\u00a0\u00a0tuvieron, bajo esta premisa, el efecto de un doble asombro.\u00a0Las dos obras me ayudaron a pensar adem\u00e1s sobre la condici\u00f3n de los compositores argentinos en el exterior y los diversos modos en que dialogan con su pa\u00eds de origen.<\/div>\n
>\u00a0Lire tout l’article<\/a><\/div>\n
\u00a0<\/div>\n
\n
\n<\/div>\n
LA GACETA DE LA UNAM – MEXIQUE<\/span>
\n<\/strong>9\/12\/2013<\/em><\/div>\n
\"\"<\/a><\/div>\n
\n
\n<\/div>\n
LA VOZ DE MICHOACAN – MEXIQUE<\/span>
\n<\/strong>19\/04\/2013<\/em>
\n\"\"<\/a><\/p>\n
\n

> R A D I O<\/strong><\/h4>\n

Francemusique.fr<\/span><\/strong>
\nEmission : \u00a0les vendredis du philhar<\/strong><\/p>\n

\n

Quebrada\/Horizonte\u00a0<\/strong>
\npour Orchestre<\/strong>
\nOrchestre Philharmonique de Radio France<\/strong>
\nDirection : Domingo Hindoyan<\/p>\n

13 f\u00e9vrier 2015 –\u00a020h –\u00a0Festival Pr\u00e9sences
\n<\/em><\/strong>Auditorium Maison de la Radio – Paris
\n<\/em><\/strong><\/p>\n

>\u00a0en savoir plus
\n<\/a>>\u00a0\u00e9couter le concert<\/a><\/span>\u00a0\u00a0(\u00e0 partir de 1h20 interview puis 1h57 Sainte Nitouche et 1h59 Quebrada\/Horizonte )<\/em><\/span><\/p>\n

\"concert_quebrada\"<\/a><\/p>\n

\n

 <\/p>\n<\/div>\n

RFI – en espa\u00f1ol<\/strong><\/span>
\nwww.rfi.fr<\/a>
\n10\/2\/2015<\/em><\/div>\n
\u00a0<\/div>\n
\u00a0\"rfi\"<\/a><\/div>\n
\n
\n<\/div>\n
\u00a0<\/div>\n
\"RADIO_FRANCE\"<\/a><\/div>\n
\u00a0<\/div>\n
\n
\n<\/div>\n

RADIO SUISSE ROMANDE<\/span>
\n<\/strong>Emission : Musique d’avenir<\/strong>
\nR\u00e9alisation : Anne Guillot<\/strong><\/strong><\/strong><\/p>\n

Cliquer ici<\/a><\/span> pour \u00e9couter l’\u00e9mission<\/p>\n

La For\u00eat IV et V (Les Princesses)<\/em> <\/strong>(D\u00e9but minute 21)
\nEx Lex (Teatro secreto)<\/em><\/strong> Cr\u00e9ation (D\u00e9but minute 38:40)<\/p>\n

Concert donn\u00e9 le 30 octobre 2012 au Studio Ernest-Ansermet<\/em>
\n\u00e0 l’enseigne des concerts Contrechamps, Saison 2012-2013.<\/em>
\nMichael Wendeberg dirige l’Ensemble Contrechamps <\/em>
\nprogramme “La For\u00eat (IV et V) (Les Princesses)” pour quinze musiciens et \u00e9lectronique (2008)\u00a0<\/em>et “Ex Lex (teatro secreto)” pour ensemble (2012)<\/em><\/p>\n

\n

FRANCE MUSIQUE – TAPAGE NOCTURNE<\/strong><\/span><\/p>\n

\"\"<\/a>
\n<\/strong><\/p>\n

\n

>\u00a0W E B<\/strong><\/h4>\n

ResMusica
\n<\/a><\/span><\/strong>Septembre2012<\/em><\/p>\n

\"\"<\/p>\n

> Lire l’article<\/a><\/strong><\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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