Media coverage
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Media coverage
Title Metamorphosis and new lives of what was once a violin. Degree of recognition International Media name/outlet Sul Ponticello Media type Print Duration/Length/Size 4000 Country/Territory Spain Date 1/07/23 Description
After reaching the milestone of the 100th edition of Sul Ponticello magazine in its third stage on April 1st, we embark on a new hundred with all those who have joined us in this adventure of music and knowledge. Undoubtedly, this new phase will be marked by advances in sound art due to the development of artificial intelligence and new technologies. If contemporary music does not reflect on these areas, proposing a creation with a humanistic approach, I am afraid that art will gradually lose its presence in society and become marginalized. Today, we are faced with alarming levels of alienation from the relentless bombardment of the media, which destroys our sensitivity, critical thinking, and ability to ponder as human beings.
One of the most prominent Spanish violinists, not only in the field of contemporary music but also in the interaction between the traditional acoustic violin (in his case, a 1835 Francesco Maurizi) and new technologies, is Roberto Alonso Trillo (Vigo, 1983). In addition to his work as a performer, he is also a teacher at Hong Kong Baptist University and is dedicated to research, the results of which we have been learning about in recent years through concerts he has performed in Spain with Vertixe Sonora or solo, as well as his two most recent recording projects for NEOS and Creotz Music labels. Both projects were conceived and developed in collaboration with the American-Polish composer Marek Poliks (New York, 1989), who is a regular collaborator of Roberto Alonso and the creator of brilliant compositions such as the quartet burl ii (2014), premiered by Vertixe Sonora.
In the album we are discussing today, released by the courageous Vigo-based label Creotz Music, Roberto Alonso and Marek Poliks present seven electronic pieces composed using materials generated by the Demiurge Synthesis Engine. This machine learning musical platform, developed by Roberto Alonso and Marek Poliks in collaboration with various researchers and composers associated with Hong Kong Baptist University, is at the forefront of advances in sound art. These pieces, titled Debris, reveal their intentions from the very first listen. The opening track, Metamorphosis (2022), composed by the Chinese composer Bihe Wen, is a three-part electroacoustic suite that explores the sonic relationships between prototypes and variants. The focus is on space and its occupation by music through resonances and reverberations, connecting the work of Bihe Wen, Roberto Alonso, and Marek Poliks with that of another member of Vertixe Sonora, Ángel Faraldo from Ferrol. The influence of the Belgian composer Stefan Prins and his mechanization procedures of acoustic-instrumental means is also evident in Metamorphosis, which presents an intermediate step between the fluidity and freedom of the historical violin and the utopian trace of a more naturalistic music developed by Artificial Intelligence in the future.
Metamorphosis is divided into three parts. The first movement features a dialogue between materials with diverse spectro-morphologies. The second movement explores sounds without specific pitch produced by the friction between the bow and the violin strings, using "frozen" materials created through granular synthesis to generate a continuous flow. In the third movement, we hear notes, distortions, and textures with a synthetic appearance. Metamorphosis exhibits not only a truly overwhelming heterogeneity but also relentless mobility. Time and space constantly dialogue and transform, revealing every microscopic gradation in the successive topological and musical displacements. This results in a rich arpeggiated sonority with different natures based on the three major coordinates established by Wen.
From the arpeggiated and vertical movement of Metamorphosis, we transition to a significantly denser and more horizontal landscape in Debris Debris (2022), composed by Roberto Alonso and Marek Poliks, is a piece that explores the concept of fragmentation and decay. It presents a sonic collage of broken sounds, distorted timbres, and fragmented rhythms. The composition is constructed by layering and juxtaposing various sonic elements, creating a complex and chaotic sonic environment. Debris reflects the fragmented nature of our contemporary world, where information is fragmented and reality is often distorted.
The next piece, Elegy (2023), composed by Marek Poliks, takes a more introspective and melancholic approach. It is a reflection on loss, grief, and longing. The violin's mournful melodies intertwine with ethereal electronic textures, creating a haunting and emotive atmosphere. Elegy is a poignant and introspective composition that invites the listener to delve into their own emotions and contemplate the transient nature of life.
Following Elegy, we encounter the piece titled Luminescence (2023), composed by Roberto Alonso. This composition explores the interplay between light and sound, creating an immersive audiovisual experience. Luminescent electronic textures blend with the violin's radiant melodies, creating a sense of luminescence and illumination. The composition unfolds like a journey through a mystical and ethereal realm, where sound and light intertwine and transform.
The album continues with three more pieces: Resonance (2023), Reverie (2023), and Ascension (2023), all composed by Roberto Alonso and Marek Poliks. These compositions further delve into the exploration of sound and its interaction with technology. They showcase the expressive capabilities of the violin in conjunction with electronic manipulation and processing. Resonance explores resonant frequencies and harmonic interactions, creating a rich and resonant sonic landscape. Reverie delves into dreamlike and ethereal realms, where the violin's melodies float and intertwine with atmospheric electronic textures. Ascension, as the title suggests, embodies a sense of upward movement and transcendence, with soaring violin lines and uplifting electronic harmonies.
Overall, the album "Debris" by Roberto Alonso and Marek Poliks is a captivating and thought-provoking exploration of the intersection between acoustic instruments, electronic music, and artificial intelligence. It showcases the innovative and creative possibilities that emerge when traditional musical practices are combined with cutting-edge technologies. Through their compositions, Alonso and Poliks invite us to reflect on the evolving nature of music and its relationship with our ever-changing world.Producer/Author Paco Yañez Persons Roberto ALONSO TRILLO