FACE TO FACE

Dialogue of Contrast

Work: Face to Face
Composer: Juan Arroyo
Duration: 8 minutes
Instruments: bariton saxophone and cello

This work is a vibrant homage to the composer Maurizio Kagel, whom I had the honor of meeting during his stay in Bordeaux. Inspired by emblematic pieces such as “Match” or “Exotica,” this duo for baritone saxophone and cello delves into a deep and dynamic exploration of the sound possibilities of these two instruments.Face to Face integrates composed improvisation sections, offering creative freedom to the performers while maintaining a rigorous structure. Instrumental theater work is at the heart of this piece, adding a visual and narrative dimension to the musical performance. The work explores various playing techniques specific to the cello and baritone saxophone, highlighting the contrasts and complementarities between these two instruments. This duo thus becomes a muscular and passionate exchange between the performers, each bringing their unique voice to this intense and captivating musical conversation. This work is a vibrant homage to the composer Maurizio Kagel, whom I had the honor of meeting during his stay in Bordeaux. Inspired by emblematic pieces such as “Match” or “Exotica,” this duo for baritone saxophone and cello delves into a deep and dynamic exploration of the sound possibilities of these two instruments.Face to Face integrates composed improvisation sections, offering creative freedom to the performers while maintaining a rigorous structure. Instrumental theater work is at the heart of this piece, adding a visual and narrative dimension to the musical performance. The work explores various playing techniques specific to the cello and baritone saxophone, highlighting the contrasts and complementarities between these two instruments. This duo thus becomes a muscular and passionate exchange between the performers, each bringing their unique voice to this intense and captivating musical conversation. The world premiere of Face to Face took place in 2006 for the anniversary of the Ourense Conservatory of Music.

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.

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