, Malcom Palestine, Burkhard Stangl, Christof Kurzmann, Rolf Julius, Phil Niblock, Alvin Lucier, Lawrence Casserley, Thomas Clements, Stefano Scodanibbio,… Llorenç wrote essays on Madrid fostered, thanks to Llorenc’s mediation, the projects of artists such as Terry Riley, Jaap Blonk, Gordon Monahan, Ron Kuivila Llorenç lived in Madrid for many years (1972-2004). Alternative music events in Valencia FLES, Festivals of Free sound expression Nits d’AieloĪnd Art Anem Anem) music courses, events and conferences (Music Departament, Universidad Complutense Paralelo** Madrid-Other Musica**) magazines (Senderos for 2000),… (reinventing phonetic poetry from gossip, advertisement and markets”) festivals (Ensems. Llorenç Barber has been inventing bands since the 70s: Actum (diphonic minimalism), mundane music workshop (improvised contact and context music), Flautus Vocis Trio Schneider The musical origin of sibolic animals in ancient mythology and scultpture - El origen musical de los animales-símbolos en la mitología y la escultura antiguas Schafer’s land art in his work The Tuning of the World (1977) “The soundscape as a huge musical composition, ceaselessly evolving about us”. To praticcipate in The Music/Context (1978) curated by the improvisers of the London Musicians Collective, David Toop and Peter Cusack. The reading of Silence by John Cage in 1971, the invitation Stockhausen in España, the ZAJ group (1970) with it’s Fluxus line of thought. His broad creative vision is even extravagant due to the nature and evolution of some of his works.Ĭhronologically, this are some of Llorenc’s influences: the Internationale Ferienkurse für Neue Musik (1969-70) in Darmstad (Germany), his personal knowledge of the Luciano Berio, To a rich heterodox approach, clearly stranged from labels. But, because of his work as a musician, he’s also fundamental in bringing spice and knowledge along the years – decades already. We wouldn’t be able to talk about improvised music, nor free jazz, nor installation nor sound art nor electroacustic music”), this Valencian man has always been uncomfortable,Īs well as necessary with words, written or spoken. ![]() ![]() (score-torture) and all those analisys that conservatory musicians like so much.īy means of a reflexive and transparent criticism, regarding the big fish in the music culture (“If reality had paid attention to the Ministry in the last 30 years, Llorenç Barber Text by Chema Chacón (spanish version)īesides being “allergic to electricity”, Llorenç Barber (Aielo de Malferit, Valencia, 1948) confesses his strangement from “the craftsmen of music, and those “partitortura”
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