Plexus
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instrumentation: tenor saxophone and electronics (sundtrack version available)
composition year: 2009 duration: 09:40 min. aprox. world premiere: 2010, February 26. ZKM, Zentrum für Kunst und Medientechnologie, Kubus Hall, Karlsruhe, Germany. by: Pedro Bittencourt. commissioned by: Pedro Bittencourt. electronics by: Arturo Fuentes published by: soniq performing arts, Berlin CD recording: Arturo Fuentes “Chamber Music”, NEOS 10906, ensemble intégrales, released: September 20, 2010 technical notes: *Soundtrack version: The saxophonist follows a hand chronometer and the sound file is sended by a computer. *Live electronics version: The saxophonist plays with a MAX patch. *In both cases are important to work together with a sound assistant. *Optional: stereo, 4 channels, 8 channels in both soundtrack or live electronics version. *To ask the concert material, please contact the composer: [email protected] concerts with this piece:
other pieces including saxophone: 2002 Hymne an Lesbierinnen tenor sax, bass cl, harp, acc., soprano 2006 Antecedente X tenor saxophone, percussion, piano 2011 Superfluidity II guitar, fl, sax, accordion, perc, vla, cell, db 2012 Influx saxophone quartet 2012 Note Two saxophone and percussion 
Arturo Fuentes with Pedro Bittencourt, rehearsing PLEXUS in ZKM, Germany, February 2010
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Concert note
ENGLISH In Plexus, Fuentes was interested in establishing a close relationship between the instrument and the electronics. With the electronics he was looking for a dark and rough color, static throughout the piece, almost a monolithic form. In contrast to this, the saxophone has a lot of movement and color. During the composition of the work, a poetic idea had been appealing to him: the electronics as a shadow of the saxophone, tracing out its profile. To achieve a disturbing and persistent character, the electronics is restricted to the lower register for longer passages (as if things were not changing), pulling the saxophone down. In opposition to the darkness of the work, at other points Fuentes was interested in reinforcing the harmonic range of the saxophone, pointing it upwards, so to speak, »into the light«. In this vein, the composer wanted to explore a tone colour based upon inconsistent aesthetic concepts and containing a load of intentions, operations and actions at the level of the acts of composition, and, of course, of musical interpretation. The work is situated between heaviness and lightness, both of which Fuentes always intends to contrast in his music. The score was revised for the interpretation by Pedro Bittencourt. In recent years, a deep personal collaboration and friendship has developed between the two. Fuentes dedicates this new version to him with great affection. DEUTSCH In Plexus wollte Fuentes eine enge Beziehung zwischen dem Instrument und der Elektronik herstellen. Mit dem elektronischen Teil suchte er nach einer dunklen, groben Farbigkeit, die das gesamte Stück hindurch statisch bleibt, einer nahezu monolithischen Form. Im Gegensatz dazu ist das Saxophon voll von Bewegung und Farbe. Während der Kompositionsarbeit fühlte sich Fuentes von einem lyrischen Gedanken angesprochen: die Elektronik als Schatten des Saxophons, dessen Umrisse zeichnend. Um einen verstörenden, beharrlichen Eindruck entstehen zu lassen, ist die Elektronik über längere Abschnitte auf die tiefe Lage beschränkt (als ob sich nichts ändern würde), zieht das Saxophon nach unten. Um diese Dunkelheit des Werks zu kontrastieren, war Fuentes an anderen Stellen daran interessiert, den Obertonbereich des Saxofons zu betonen, es so empor zu richten, »ins Licht«. Auf diese Weise wollte der Komponist eine Farbigkeit der Klänge erkunden, auf Grundlage widersprüchlicher ästhetischer Konzepte und mit einer Vielzahl von Absichten, Vorgängen und Handlungen auf Ebene der Komposition und der musikalischen Interpretation. Die Arbeit ist zwischen Schwere und Leichtigkeit angesiedelt, ein Kontrast, der für Fuentes' Musik eine große Rolle spielt. Für die Interpretation durch Pedro Bittencourt erfuhr die Partitur eine Überarbeitung. In den letzten Jahren hat sich zwischen ihnen eine enge Zusammenarbeit und tiefe Freundschaft entwickelt. Fuentes widmet ihm diese neue Version mit großer Zuneigung. PORTUGUÊS Em Plexus, Fuentes estava interessado em estabelecer uma relação próxima entre o instrumento e a eletrônica. Ele estava buscando cores escuras e rústicas com a eletrônica, sem grandes mudanças durante a peça, quase como uma forma monolítica. Oposto a isso, o saxofone tem muito movimento e cor. Durante a composição da peça, uma ideia poética sempre esteve chamando pelo compositor : que a eletrônica se comportasse como uma sombra do saxofone, delineando o seu perfil. Para atingir um caráter persistente e perturbador, a eletrônica permanece por longos momentos em trechos graves (como se nada estivesse mudando), puxando o sax para baixo. Em oposição à “escuridão da obra”, Fuentes estava interessado em outros pontos ao explorar todos os harmônicos do saxofone, apontando para cima, como quem diz : “Para dentro da luz”. Como vocês podem ver, em Plexus o compositor quis explorar uma “cor sonora” baseando-se em conceitos estéticos inconsistentes, mas contendo uma carga de intenções, operações e ações no nível do ato da composição, e claro, da interpretação musical. A obra se afirma entre o pesado e o leve, ambos elementos que Fuentes sempre opõe na sua música. Ele revisou a partitura para a interpretação de Pedro Bittencourt. Recentemente eles desenvolveram uma grande colaboração e amizade. Fuentes dedica a ele com afeto essa versão. Arturo Fuentes |
Comments written by Pedro Bittencourt directly into his score