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POÈME MAUDIT
Staged concert for a microtonal guitar quartet, guitar ensemble and voice.
With poems of Arthur Rimbaud
ALEPH GITARRENQUARTETT | ARTURO FUENTES
Jugend-Gitarrenorchesters Baden-Württemberg
Alice Crepaz-Fuentes, recorded voice
1hr. duration
Music composition: Arturo Fuentes
Stage direction and lighting: Arturo Fuentes
Texts in french and german of Arthur Rimbaud, Charles Baudelaire and Paul Verlaine
Created by: Arturo Fuentes
Performed by: Aleph Gitarrenquartett,
the Jugend-Gitarrenorchesters Baden-Württemberg,
the recorded voice of Alice Crepaz-Fuentes
and Arturo Fuentes (sound direction and electronics).
Music score edited by: LondonHall Editions, Austria
Poème maudit has been commissioned by the ECLAT Festival
Stuttgart, Germany, 2021
With the support of the Austrian and Mexican funds for culture
Dedicated to the Aleph Gitarrenquartett (Germany)
In collaboration with the
Jugend-Gitarrenorchester Baden-Württenberg
Directed by Christian Wernicke
Premiere:
Aleph Gitarrenquartett
Jugend-Gitarrenorchester Baden-Württenberg
And the recorded voice of Alice Crepaz-Fuentes
Sporthalle, Stuttgart
ECLAT Festival
5 February 2022
LINK:
http://www.arturofuentes.com/poememaudit.html
POÈME MAUDIT
Staged concert for a microtonal guitar quartet, guitar ensemble and voice.
With poems of Arthur Rimbaud
ALEPH GITARRENQUARTETT | ARTURO FUENTES
Jugend-Gitarrenorchesters Baden-Württemberg
Alice Crepaz-Fuentes, recorded voice
1hr. duration
Music composition: Arturo Fuentes
Stage direction and lighting: Arturo Fuentes
Texts in french and german of Arthur Rimbaud, Charles Baudelaire and Paul Verlaine
Created by: Arturo Fuentes
Performed by: Aleph Gitarrenquartett,
the Jugend-Gitarrenorchesters Baden-Württemberg,
the recorded voice of Alice Crepaz-Fuentes
and Arturo Fuentes (sound direction and electronics).
Music score edited by: LondonHall Editions, Austria
Poème maudit has been commissioned by the ECLAT Festival
Stuttgart, Germany, 2021
With the support of the Austrian and Mexican funds for culture
Dedicated to the Aleph Gitarrenquartett (Germany)
In collaboration with the
Jugend-Gitarrenorchester Baden-Württenberg
Directed by Christian Wernicke
Premiere:
Aleph Gitarrenquartett
Jugend-Gitarrenorchester Baden-Württenberg
And the recorded voice of Alice Crepaz-Fuentes
Sporthalle, Stuttgart
ECLAT Festival
5 February 2022
LINK:
http://www.arturofuentes.com/poememaudit.html
Poème maudit
Poema maldito
Su genialidad fue su maldición, para muchos esta frase significa lo que es ser un artista: un creador que es incomprendido por sus contemporáneos, rechazando las normas establecidas, las reglas del arte y los convencionalismos sociales. Así fue para Arthur Rimbaud, poeta de temas transgresores que influyó en la literatura y las artes modernas. Jim Morrison, Patti Smith, Bob Dylan, André Bretton, Henry Miller, Pier Paolo Passolini y muchos más fueron influenciados por su poesía. Para nosotros, cómo artistas en la composición y en la música, sería pertinente preguntar: ¿Qué tanto somos transgresores de las normas estéticas establecidas?
En Poème maudit Arturo Fuentes crea una obra sonora y una puesta en escena como si nos adentrásemos en un sueño de Rimbaud, extasiados por el opio y el Absinthe, con un tiempo y espacio expandidos como sus Iluminaciones o Una estancia en el infierno. La voz de la jóven actriz Alice Crepaz-Fuentes declama la poesía de Rimbaud y otros poetas malditos como Verlaine, Baudelaire y Trakl; su voz es modificada por medios electrónicos y mezclada con los efectos del cuarteto de guitarras ALEPH y los miembros de la Jugend-Gitarrenorchester Baden-Württenberg. Poème maudit (Poema maldito) es un concierto escenográfico que incorpora sonoridades microtonales, mínimalistas y espectrales, y como en otras obras escénicas de Fuentes, aquí descubrimos la oscura psicología de un personaje, Rimbaud, en un viaje sonoro.
Poema maldito
Su genialidad fue su maldición, para muchos esta frase significa lo que es ser un artista: un creador que es incomprendido por sus contemporáneos, rechazando las normas establecidas, las reglas del arte y los convencionalismos sociales. Así fue para Arthur Rimbaud, poeta de temas transgresores que influyó en la literatura y las artes modernas. Jim Morrison, Patti Smith, Bob Dylan, André Bretton, Henry Miller, Pier Paolo Passolini y muchos más fueron influenciados por su poesía. Para nosotros, cómo artistas en la composición y en la música, sería pertinente preguntar: ¿Qué tanto somos transgresores de las normas estéticas establecidas?
En Poème maudit Arturo Fuentes crea una obra sonora y una puesta en escena como si nos adentrásemos en un sueño de Rimbaud, extasiados por el opio y el Absinthe, con un tiempo y espacio expandidos como sus Iluminaciones o Una estancia en el infierno. La voz de la jóven actriz Alice Crepaz-Fuentes declama la poesía de Rimbaud y otros poetas malditos como Verlaine, Baudelaire y Trakl; su voz es modificada por medios electrónicos y mezclada con los efectos del cuarteto de guitarras ALEPH y los miembros de la Jugend-Gitarrenorchester Baden-Württenberg. Poème maudit (Poema maldito) es un concierto escenográfico que incorpora sonoridades microtonales, mínimalistas y espectrales, y como en otras obras escénicas de Fuentes, aquí descubrimos la oscura psicología de un personaje, Rimbaud, en un viaje sonoro.
Poème maudit
Cursed poem
His genius was his curse, for many this phrase means what it is to be an artist: a creator who is misunderstood by his contemporaries, rejecting established norms, the rules of art and social conventions. So it was for Arthur Rimbaud, a poet of transgressive subjects who influenced modern literature and the arts. Jim Morrison, Patti Smith, Bob Dylan, André Bretton, Henry Miller, Pier Paolo Passolini and many more were influenced by his poetry. For us, as artists in the composition and the music, it would be pertinent to ask: How much are we transgressors of established aesthetic norms?
In Poème maudit Arturo Fuentes creates a sound work and a staging as if we were entering a Rimbaud dream, ecstatic by opium and Absinthe, with an expanded time and space such as his Illuminations or A seasson in hell. Young actress Alice Crepaz-Fuentes declaims the poetry of Rimbaud and other cursed poets such as Verlaine, Baudelaire and Trackl; her voice is modified electronically and mixed with the effects of the ALEPH Gitarrenquartett and the members of the Jugend-Gitarrenorchester Baden-Württenberg. Poème maudit (Cursed poem) is a scenographic concert that incorporates the microtonal, the minimalist and the spectral sonorities, and as in other scenic works by Fuentes, here we discover the dark psychology of a character, Rimbaud, on a sound journey.
Cursed poem
His genius was his curse, for many this phrase means what it is to be an artist: a creator who is misunderstood by his contemporaries, rejecting established norms, the rules of art and social conventions. So it was for Arthur Rimbaud, a poet of transgressive subjects who influenced modern literature and the arts. Jim Morrison, Patti Smith, Bob Dylan, André Bretton, Henry Miller, Pier Paolo Passolini and many more were influenced by his poetry. For us, as artists in the composition and the music, it would be pertinent to ask: How much are we transgressors of established aesthetic norms?
In Poème maudit Arturo Fuentes creates a sound work and a staging as if we were entering a Rimbaud dream, ecstatic by opium and Absinthe, with an expanded time and space such as his Illuminations or A seasson in hell. Young actress Alice Crepaz-Fuentes declaims the poetry of Rimbaud and other cursed poets such as Verlaine, Baudelaire and Trackl; her voice is modified electronically and mixed with the effects of the ALEPH Gitarrenquartett and the members of the Jugend-Gitarrenorchester Baden-Württenberg. Poème maudit (Cursed poem) is a scenographic concert that incorporates the microtonal, the minimalist and the spectral sonorities, and as in other scenic works by Fuentes, here we discover the dark psychology of a character, Rimbaud, on a sound journey.
VIDEO
TONIC (2012) is a first collaboration between Arturo Fuentes and the Aleph Gitarrenquartett
Arturo Fuentes
Artistic biography (January 2022)
A naturalised Austrian citizen, born in Mexico in 1975, composer Arturo Fuentes arrived to Europe in 1997; his musical path led him from Milan to Paris, Innsbruck and Vienna. His catalogue, published by LondonHall Editions, brings together a hundred works ranging from solo pieces to orchestral works and operas. In 25 years, the work of Arturo Fuentes goes through various stages or, as he defines them “periods of exploration”; these begin with the complexity in the writing to later address the harmonic-spectral form and, recently, discovering a microtonal-minimalist sonority. They complement and balance each other, each one introduces a new aesthetic element that enriches Fuentes's style. For him, composing is like “getting lost in a labyrinth” and, quoting the painter Paul Klee, Fuentes affirms: “letting the line define his trajectory” in order to discover a “sound dramaturgy”. His music has been defined as kaleidoscopic and colourful, in this context his electroacoustic and mixed works (with instruments and live electronics) are also framed. His theoretical research, with the publication of several articles, includes musical informatics and the philosophical aspects of the act of composing, based on Wittgenstein and the hermeneutical critique of representation. In recent years, Fuentes has started directing his own music theatre, opera and dance plays: he designs the lighting, the set design, develops the concept, the script and the dramaturgy, all in proportion to his musical idea. He also produces and directs his own videos and short films, an activity that formulates a union with his photographic work.
Artistic biography (January 2022)
A naturalised Austrian citizen, born in Mexico in 1975, composer Arturo Fuentes arrived to Europe in 1997; his musical path led him from Milan to Paris, Innsbruck and Vienna. His catalogue, published by LondonHall Editions, brings together a hundred works ranging from solo pieces to orchestral works and operas. In 25 years, the work of Arturo Fuentes goes through various stages or, as he defines them “periods of exploration”; these begin with the complexity in the writing to later address the harmonic-spectral form and, recently, discovering a microtonal-minimalist sonority. They complement and balance each other, each one introduces a new aesthetic element that enriches Fuentes's style. For him, composing is like “getting lost in a labyrinth” and, quoting the painter Paul Klee, Fuentes affirms: “letting the line define his trajectory” in order to discover a “sound dramaturgy”. His music has been defined as kaleidoscopic and colourful, in this context his electroacoustic and mixed works (with instruments and live electronics) are also framed. His theoretical research, with the publication of several articles, includes musical informatics and the philosophical aspects of the act of composing, based on Wittgenstein and the hermeneutical critique of representation. In recent years, Fuentes has started directing his own music theatre, opera and dance plays: he designs the lighting, the set design, develops the concept, the script and the dramaturgy, all in proportion to his musical idea. He also produces and directs his own videos and short films, an activity that formulates a union with his photographic work.