TROU DE VER
baroque & electronic music
CONCEPT
INTRODUCTION
In physics, Trou de ver (wormhole) is a speculative structure linking disparate points in spacetime. It can be visualized as a tunnel with two ends at separate points in spacetime.
For us, Trou de ver means the opportunity to create a musical and scenic tunnel between the XVIIth and the XXI centuries, connecting these two historical times through their music, sound and characteristic instruments.
In parallel to the musical and historic travel, Trou de ver suggests also a visual journey through physical space, scenified by a countertenor. During his interpretation, the countertenor will draw a path from Barroque to our days, without stopping at intermediate times: this is the magic of a wormhole. In the XVIIth century will be accompanied by a thiorbe and a barroque guitar. In our present, by the most characteristic instrument of our time: a computer.
In this physic and sound migration we slowly will let the frontiers betwen each style to dissolve. We will allow barroque music to be influenced by electronic sound.
MUSICAL TREATMENT
In line with barroque composer's thinking, who showed much laxity when it comes to instrumental specificity (and therefore also in timbre) we will also take the licency to explore the possibilities regarding colour of sound that contemporary instruments and composing techniques allow when applied to barroque musical pieces.
Throughout our journey, we will see how the electronic sound prisma gradually enriches, transforms or supplements barroque pieces, while opening an infinite world of sound possibilities.
Reinterpretation of barroque repertoire from the point of view of instrumental and timbre transgression offers us the opportunity to generate a unique sound alloy by connecting two musical styles so remote to each other.
AUDIENCE INTERVENTION
At the beginning of our journey, some of the audience will be asked to perform a little collaboration by reading in front of an amplified microphone some questions regarding the hypothetical possibilities of building an actual wormhole through time. This questions will work as an introduction of the concert and of its concept. Furthermore, the voices from the audience will be recorded and used during the last piece of the concert, Kapsberger's Arpegiatta.
On one hand, this intervention is representative of contemporary composing methods in which the composer allows that the piece's authorship dissolves with the audience. On the other hand, we think that we cannot miss the opportunity to generate in situ a wormhole in which we involve and "drag" along our journey the people who accompanies us, making resonate their voices at the end of the concert as a distant echo of the past.
Sound result of this experiment will generate a cacophony of different voices, probably unintelligible but very present and meaningful that will merge together with the compunter's electronic music and thiorbe's barroque sound. This will create a rich and complex sound landscape in which all assistants - performers and audience indistinctly - will be involved.
In this sense Trou de ver presents itself as a phyisic, sound and historical journey that will implicate not only the body and music instruments of the performers but also the voice and words of the audience as an identity sign of our times.
MISE-EN-SCÈNE
The stage area will be presented in a different way as usual in classical music performances.
It is our aim, on one hand, to strengthen a different perspective of musical listening that also includes the visual aspect, usually disregarded in most of the classical music representations, except perhaps, for the opera.
On the other hand, the concert stage becomes here a scenic space that actively participates in creation of meaning by seeking the symbolic representation of a Trou de ver or wormhole.
Therefore a black rug will be arranged along the space, as a tunnel or bridge that will go down the space end-to-end, from past to present.
The rug will be placed in the middle of the space and audience will be located on each side of the rug. At each end of it we will find the musicians who represent two different temporalities that we pretend to link.
At one end, Ferran Pisà with his thiorbe and his baroque guitar. At the other, Aurora Bauzà with computers and electronic instruments. Countertenor and performer Pere Jou will inhabit the space that separates both musical periods by using his voice and body to walk through this distance so physic as conceptual.
PROGRAM
During this journey we will focus on barroque authors so significant as Monteverdi, Kapsberger, Purcell or Frescobaldi. We will revisit some of their vocal pieces for countertenor and basso continuo. Also some of their instrumental pieces for solo plucked string instrument will be performed, among other instrumentations, building a selection conceived to captivate the audience and bring them from a musical period to an other, from barroque sound to electronic, dissolving the lines that distinguish between them.
Arpegiatta - G. Kapsberger (1580-1651)
Musick for a while - H. Purcell (1659-1695)
Oblivion soave - C. Monteverdi (1567-1643)
Chaconne - R. de Viseé (1655-1733)
Lamento della ninfa - C. Monteverdi (1567-1643)
Cold song - H. Purcell (1659-1695)
Bergamasque - G. Kapsberger (1580-1651)
Se l'aura spira - G. Frescobaldi (1583-1643)
Passacaglia - G. Kapsberger (1580-1651)
Duration: 60'
TEAM
MUSICAL DIRECTION
Aurora Bauzà
SCENIC DIRECTION AND DRAMATURGY
Pere Jou
PERFORMERS
Ferran Pisà - thiorbe
Pere Jou - countertenor
Aurora Bauzà - electronics
MEDIA
VIDEO COMPLETE RECORDED BY LLEIDA TV
PHOTO GALLERY
La Lleialtat Santsenca © Lluc Miralles
La Lleialtat Santsenca © Lluc Miralles
La Lleialtat Santsenca © Lluc Miralles
La Lleialtat Santsenca © Lluc Miralles
INTERVIEW AT LLEIDA TV (IN CATALAN)
BIOGRAPHIES
PERE JOU
Pere Jou spent the first 10 years of his professional career producing, composing and recording pop music and performing with artists such as Enric Montefusco, Dorian, Elefantes or his own music project, Quart Primera.
In 2014 starts his studies in lyric singing with Oriol Rosés at the Conservatori Superior del Liceu. Simultaneously he takes the leap to scenic arts and this has taken him to work as a performer and composer (together with Aurora Bauzà and under the pseudonym Telemann Rec.) for artists such as Alessandro Sciarroni, Sol Picó, Sonia Gómez, David Climent (Los Corderos), Amalia Fernández, Lipi Hernández, David Selvas, La Kompanyia del Lliure, La Brutal... He has presented different scenic pieces as a co-creator and vocal performer: Nowhere in Particular in Festival Grec 2018, I AM (T)HERE at the Festival Off Liceu (2019) and recently Trou de ver at Festival Espurnes Barroques.
Pere Jou has a BA in Sociology, Audiovisual Comunication and has a Degree in music, specialty in Lyric Singing. He also has a MA in Music as interdisciplinary art.
AURORA BAUZÀ
Aurora Bauzà has centered her studies in music and interdisciplinary artistic creation. Simultaneously, her interest in composing has guided her professional career. In 2015 founded together with Pere Jou the music production company Telemann Rec., with what she has composed, performed and produced music for lots of scenic projects as much as audiovisuals, for artists, choreographers and directors such as Alessandro Sciarroni, Lipi Hernández, David Selvas, Atzur, Ana Borrosa, etc.
In the scenic field she has recently created and performed I AM (T)HERE, a music and scenic piece presented at the Festival Off Liceu (2019), as well as Trou de ver, presented at Festival Espurnes Barroques. She has also composed and produced music for pieces performed at Biennale Danza Venezia 2019 (Save the last dance for me), Festival Grec (Nowhere in particular), Mercat de les Flors (DATA), Festival Sismògraf d’Olot (Mol·leculari), Antic Teatre and Teatre Principal de Palma (Pla-dur), Pedrera (Ave Maria, 2018), among others. She is also been musical director for some theatre pieces at Teatre Nacional de Catalunya, and Teatre Lliure.
Aurora Bauzà has a Degree in music, specialty in Piano and a BA in Musicology. She also has a Master in music as interdisciplinary art.
FERRAN PISÀ
Ferran Pisà iniciated his formation in antique music while studying a degree in baroque and classical Guitarr at the Conservatorium van Amsterdam. He later completed a specialization in thiorbe and barroque guitar at the ESMUC, where he studied the technique of plucked string instruments.
His concert career has taken him to participate as a performer in a bunch of antique music festivals such as Festival de música antiga de Barcelona, the Teatro Real de Madrid or the Festival de música antiga de Palma, as well as in concerts around Europe in countries such as Germany, Italy, Holland or Ireland.
Frequent collaborator of different music groups, he has always had the interest of working in his own projects: in 2016 he created and put the music for El verger de l'amat, a recital based on Ramon Llull's writings that he has performed around Europe with actress Montse German. He is currently working also with her in a new music project based on the Ovidi's Metamorphosis. In 2018 he founded Solnegre, a music group with which he designs a different program for each performance.
CARACTERÍSTIQUES DE L'ESPAI ESCÈNIC
L'espai escènic es presenta com un passadís a cada costat del qual s'hi col·loca el públic, mirant-se entre sí i escenificant un túnel o forat de cuc. A cada extrem del passadís s'hi col·loquen dos músics; el tercer recorrerà el passadís.
Els altaveus estaran disposats en els cantons exteriors de l'espai i enfocant cap al centre (cap al públic), tal com s'observa en el croquis.
FITXA TÈCNICA
CARACTERÍSTIQUES DE L'ESPAI
Trou de ver pot representar-se en qualsevol espai interior o exterior que pugui comptar amb equip de so i que permeti distribuir les cadires lliurement. En el cas d'espais exteriors, és necessari que l'espai sigui relativament silenciós, ja que essent una proposta de música clàssica el volum de la música és baix perquè no tots els instruments estan amplificats.
CARACTERÍSTIQUES DE L'ESPAI ESCÈNIC
L'espai escènic es presenta com un passadís a
cada costat del qual s'hi col·loca el públic, mirant-se entre sí i escenificant un túnel o forat de cuc. A cada extrem del passadís s'hi col·loquen dos músics; el tercer recorrerà el passadís.
Els altaveus estaran disposats en els cantons
exteriors de l'espai i enfocant cap al centre
(cap al públic), tal com s'observa en el croquis.
MUNTATGE I DESMUNTATGE
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Muntatge: 4 hores, incloent prova de so amb un tècnic de so.
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Desmuntatge: 1-2 hores.
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1-2 persones per distribuir i recollir les cadires del públic.
NECESSITATS TÈCNIQUES
Escenografia:
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una catifa negra que recorri el llarg del passadís
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1 faristol
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1 taula d'un metre d'alçada
Equip de so:
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4 altaveus de mínim 300 wats cada un
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una taula de so de mínim 4 canals
Il·luminació: cap necessitat específica
Necessitat de camerinos: No
PRESSUPOST
1800€ + 180€ (10% IVA) - 270€ (15% IRPF) = 1710€
FITXA ARTÍSTICA
DIRECCIÓ MUSICAL
Aurora Bauzà
DIRECCIÓ ESCÈNICA I DRAMATURGIA
Pere Jou
INTERPRETACIÓ
Ferran Pisà (tiorba i guitarra barroca)
Pere Jou (contratenor)
Aurora Bauzà (teclat i electrònica)