SMAQRA

Sonic Chimeras: The Alchemy of the Hybrid Quartet

Work: Smaqra
Composer: Juan Arroyo
Duration: 10 minutes
Instruments: hybrid string quartet

Since the dawn of time, musical instruments have evolved to meet the expressive demands of their era. Instruments like those forming the modern string quartet (violin, viola, and cello) have a history dating back to early monophonic instruments such as the troubadours’ Rebec. Among the most significant modifications are the addition of the sound post to enhance the instruments’ volume, the curvature of the bridge allowing for single-string playing, the tension of the strings, and the addition of the cello spike for instrument stability. In the second half of the 20th century, a new source of inspiration emerged for composers in their quest for new means of expression: electroacoustic music. Thus, the composition of pieces combining electronic and instrumental sources, known as mixed pieces, became increasingly prominent in the contemporary music scene. These pieces are created using various diffusion systems: stereo, quadraphonic, 5.1 (cinema), 8.0, among others. This new concert situation has definitively changed listeners’ habits, focusing their attention on the diffusion of music through loudspeakers. In other words, the instrument is no longer the main source of projection. This situation has brought new possibilities in musical writing, especially concerning the physical space of sound and its movement. However, we have lost some ontological notions. The instrumentalist often finds themselves disconnected from the overall result of the piece, even if a feedback system is provided. The cause-effect relationship is often unknown to the performer, due to their isolation behind the line of loudspeakers, making the result often approximate. In the interest of developing my musical research for composition, and inspired by the explorations conducted by Adrien Mamou-Mani (acoustician-researcher) in the field of augmented instruments, I became interested in the construction of so-called «hybrid» instruments. These classical instruments have the ability to project electronic treatments and sounds themselves. This innovation allows us to reestablish the link between the causality of sound and its diffusion, placing the performer at the center of the sound result management and enabling mixed concerts in non-equipped venues, offering the possibility of greater dissemination. Smaqra, like the «hybrid string quartet,» is a hybrid word. With this piece, I continue my exploration of the different types of «causal listening deformation» and translate the notion of masking into music to create a sound illusion between the acoustic sound of the instruments and the treatments diffused inside their soundboxes. Smaqra was commissioned by the Henri Pousseur Center, under the direction of Marie-Isabelle Collard, the Art Zoyd Musical Creation Center, under the direction of Monique Hourbette, and the Tana Quartet. The two violins, viola, and cello were hybridized thanks to the collaboration with luthier Lucas Balay and acoustician-researcher Adrien Mamou-Mani. The premiere took place on January 15, 2015, at the Museum of Contemporary Art in Strasbourg, performed by the Tana Quartet.

Author: Juan Arroyo

Composer in residence at the Center Henri Pousseur (2014), IRCAM (2015), Cité Internationale des Arts (2015), Member of the Academy of France in Madrid – Casa de Velazquez (2016), at the Art Zoyd Music Creation Center (2017), member of the Académie de France in Rome – Villa Médicis (2017), Juan Arroyo is actually the guest composer of the National Orchestra of Peru, co-artistic director and conductor of the Regards ensemble, co-artistic director of the Sonomundo Festival, curator of the Experimenta festival at the Great National Theater of Peru, professor at the d’Argenteuil conservatory and member of the Artistic Council of the Casa de Velasquez. Juan Arroyo was born in Lima, Peru. He studied composition at the Conservatories of Lima, Bordeaux and at the National Conservatory of Music and Dance in Paris. He deepens his musical knowledge in formations like Voix Nouvelles and the IRCAM. He has been guided by eminent composers such as Allain Gaussin, Brian Ferneyhough, Heinz Holliger, Henri Pousseur, Jean-Yves Bosseur, Luis Naón, Mauricio Kagel, Michael Levinas, and Stefano Gervasoni. His music is rewarded with numerous awards such as the prize of the Salabert Foundation (2013), the prize of the Academy of Fine Arts of France (2015) and the Ibermusicas composition award (2022). He receives prestigious commissions from the French Ministry of Culture, Radio France, Centre Henri Pousseur, SACEM and Donaueschinguen Musiktage. His works are performed by eminent musicians such as Ensemble Intercontemporain, L’Itinéraire, Linea, LAPS, L’Arsenale, Proxima Centauri, Sonido Extremo, National Orchestra of Peru, Vertixe Sonora and Tana Quartet. His music is performed at great festivals such as Ars Musica, Présences, Cervantino, La Chaise-Dieu, Ensems and ¡Viva Villa! His compositional work revolves around sound hybridization. Indeed, in 2014, he began a fundamental stage of his artistic work with the construction of new instruments capable of transmuting their sound, the TanaInstruments. This allowed him to hybridize the perceptual cues of sounds in order to reveal the evocative and irrational nature of their substance, sometimes making them enigmatic.

Deja un comentario

Tu dirección de correo electrónico no será publicada. Los campos obligatorios están marcados con *