Artist Statement
I composed Tierra Y Sol in 1996 with the sonorities of musical traditional instruments typical from the Andes mountains on my mind. the blend of pitch and noise in their spectrums, the articulations, the intonations, the way the musical phrases are played by peoples (non-professional musicians) from the country or the streets of some cities of South America, attract me to compose this piece.
All sonic materials were derived from ancient Andes wood-wind instruments like quenas and mohocenos; cross-culture musical instruments like charangos, and even the classical guitar (introduced to America during the Spanish colonization); and from the voice of a folk singer, still living in the mountains.
With Tierra Y Sol I am trying to reflect not only the sonorities from the Andes mountains, but also the pace, the mood, the different way of changes, the hopes 9or non hopes), the times of the people’s vital cycle living high on the mountains of Ecuador, Peru, Bolivia, north of Chile and Argentina. This piece is for me a kind of connection past-present-future, or primitivism-hyper technology, or south-north or simpel-complex … and maybe also a self-examination of my (our) culture style/rhythm/focus on life.
Audio: Ricardo Dal Farra Tierra y Sol, 1996.
- Ricardo Dal Farra (Argentina), STUDIO DE MUSICA ELECTROACUSTICA. Ricardo Dal Farra was born in Buenos Aires, Argentina, in 1957. Composer of electroacoustic, computer, mixed and instrumental music; his works have been played in 30 countries. Consultant on Multimedia at National Ministry of Culture and Education. Music Technology consultant and professor of Multimedia at ORT Technical School. Professor of Acoustic and Electroacoustics at the National Conservatory of Music and Municipal Conservatory of Music of Buenos Aires. Multimedia consultant at IMD. Director of Estudio de Musica Electroacustica. As a live electronic music performer, he played in festivals like the New Music America (1988), Stockholmsfestivalen For ElektroAkustisk Musik (1989), Composer-to-Composer (1989), Subtropics Music Festival (1991), Muestra International de Musica Electroacustica (1992), National Week of Electroacoustic Music (1994), and Festival Latinoamericano de Musica (1995). Member of the Board of Advisory Editors of the (formerly Interface) Journal of New Music Research (The Netherlands) since 1988, and Leonardo Music Journal (U.S.A.) since 1995. Awards, commissions and grants from: International Computer Music Association (1995), CCRMA of Stanford University (1992) and Rockefeller Foundation (1989,1992, 1994) from U.S.A.; National Endowment for the Arts (1988) and National Rostrum of Composers (1984, 1986, 1992, 1996) from Argentina; Centro di Sonologia Computazionale (1988) of Padova’s University, Italy; Concours International de Musique Electroacoustique of Bourges (1990), France; Fundacao Bienal de Sao Paulo (1989), Brazil.