{"id":279,"date":"2011-02-28T13:56:59","date_gmt":"2011-02-28T11:56:59","guid":{"rendered":"https:\/\/martinmatalon.com\/?p=279"},"modified":"2011-03-01T15:05:54","modified_gmt":"2011-03-01T13:05:54","slug":"monedas-de-hierro","status":"publish","type":"post","link":"https:\/\/martinmatalon.com\/?p=279","title":{"rendered":"Monedas de hierro"},"content":{"rendered":"

(1993)
\nPour 10 musiciens et \u00e9lectronique.
\nOeuvre d\u00e9di\u00e9e \u00e0 Claudia Teubal.<\/em><\/p>\n

Note<\/h2>\n

Monedas de Hierro<\/strong> <\/em>est la version de concert tir\u00e9e de\u00a0La Rosa profunda<\/em><\/strong>.
\nCette derni\u00e8re, command\u00e9e par L’IRCAM en 1992, a servi de composante sonore \u00e0 une installation consacr\u00e9e \u00e0 Jorge Luis Borges.<\/p>\n

Organis\u00e9e par le Centre Pompidou., cette installation a pris une forme ch\u00e8re \u00e0 l’\u00e9crivain et po\u00e8te argentin : celle d’un labyrinthe o\u00f9 sont expos\u00e9s, outre des manuscrits, toutes sortes d’objets illustrant les th\u00e8mes d\u00e9velopp\u00e9s dans son oeuvre : le temps, les biblioth\u00e8ques, l’\u00e9criture, la lecture, les miroirs…<\/p>\n

Prenant ces th\u00e8mes pour argument, la musique a servi de fil d’Ariane au visiteur, le guidant d’un bout \u00e0 l’autre du labyrinthe au long des th\u00e8mes rencontr\u00e9s.<\/p>\n

<< Quand j’ai compos\u00e9 Monedas de Hierro<\/strong><\/em>, explique le compositeur, j’\u00e9tais fascin\u00e9 par la fa\u00e7on dont Borges traitait les petites formes. En transposant ce traitement dans le domaine de la composition, j’ai fait en sorte que chaque mouvement de l’oeuvre pr\u00e9sente une id\u00e9e musicale de la mani\u00e8re la plus essentielle, sans aucune sorte de d\u00e9veloppement, de prolif\u00e9ration, de processus ou de r\u00e9p\u00e9tition. Chacun de ces mouvements se veut une \u00ab\u00a0forme\u00a0\u00bb (j’entends ceci de mani\u00e8re litt\u00e9rale, dans le sens plastique du terme). Les relations entre les mouvements sont bas\u00e9es sur les contrastes de rythme, de densit\u00e9 et de timbre. Chacun d’entre-eux utilise un instrument soliste qui lui est propre. Cela contribue, bien s\u00fbr, \u00e0 enrichir la palette sonore, \u00e0 caract\u00e9riser davantage chaque forme mais aussi, dans la perspective globale de l’oeuvre, \u00e0 faire ressortir \u00ab\u00a0l’individualit\u00e9\u00a0\u00bb au sein de l’\u00e9criture d’ensemble>>.<\/p>\n

Propos recueillis par Pascal Lanco<\/em><\/p>\n

Note (english version)<\/h2>\n

Dedicated to Claudia Teubal
\n<\/em>
\nMonedas de Hierro<\/strong><\/em> is the concert version drawn from\u00a0La Rosa profunda<\/em><\/strong>. Commissioned by IRCAM in 1992, the latter served as the sound component for an installation devoted to Jorge Luis Borges. Organised by the Pompidou Centre in Paris, this installation took on a form of which the Argentine poet and writer was particularly fond: that of a labyrinth in which were exhibited, in addition to manuscripts, all manner of objects illustrating the themes developed in his works: time, libraries, writing, reading, mirrors… Taking these themes as an argument, the music served as a vital lead for the visitor, guiding him from one end of the labyrinth to the other.<\/p>\n

\u2018When I composed\u00a0Monedas de Hierro<\/em><\/strong>,\u2019 explains the composer, \u2018I was fascinated by the way in which Borges treated small forms. By transposing this treatment to the sphere of composition, I had to see to it that each movement of the work presented a musical idea in the most essential manner, without any sort of development, proliferation, process or repetition. Each of these movements is meant to be a \u201cform\u201d (I mean that literally, in the plastic sense of the term). The relationships between movements are based on principles of contrast and complementarity. Each of them uses its own solo instrument, which, of course, contributes to enriching the sound palette, further characterising each form.\u2019<\/p>\n

Pascal Ianco<\/p>\n

Translated by John Tyler Tuttle<\/em><\/p>\n

Distinction<\/h2>\n

Recomand\u00e9e par la Tribune internationale des compositeurs de l\u2019UNESCO (Juin 1998)<\/p>\n

Presse<\/h2>\n

S A N F R A N C I S C O C L A S S I C A L V O I C E – June 12, 2001<\/p>\n

\u00ab\u00a0The collaboration of electronics with live performers provided some fascinating results at Friday night’s Hertz Hall concert of \u00ab\u00a0Tempo,\u00a0\u00bb UC Berkeley’s inaugural Festival of Contemporary Music Performance, held during the first week of June. The series of six events presented music \u00ab\u00a0which blurs the line between improvised and composed\u00a0\u00bb pieces while also incorporating computer technology in the process.<\/p>\n

The most impressive composition on Friday’s program was the last piece, Monedas de Hierro, by Argentine composer Martin Matalon, for 10 players and electronics, conducted by David Milnes. The title, which means \u00ab\u00a0Coins of Iron,\u00a0\u00bb suggests the cascading, glittery sound that permeates much of the score, generated by harp, percussion, and electronic sounds. Each of its several short movements has a distinctive central characteristic, like a bassoon or trumpet solo, or a passage for closely dueting clarinets. Rippling, complex textures seem to integrate freedom with precision of detail in this dazzling piece.\u00a0\u00bb<\/p>\n

Extraits<\/h2>\n

Vous pouvez t\u00e9l\u00e9charger ici trois courts extraits de \u00ab\u00a0Monedas de hierro\u00a0\u00bb.
\nLe premier extrait est issu du 1er mouvement et dure 2mn52.
\nLe deuxi\u00e8me extrait est issu du 3\u00e8me mouvement et dure 1mn53.
\nLe troisi\u00e8me extrait est issu du 3\u00e8me mouvement et dure 1mn53.<\/p>\n

T\u00e9l\u00e9charger ici le premier extrait<\/a>
\nT\u00e9l\u00e9charger ici le second extrait<\/a>
\nT\u00e9l\u00e9charger ici le troisi\u00e8me extrait<\/a><\/p>\n

 <\/p>\n

Fiche technique \/ Technical ride<\/h2>\n

Here you can download the technical rider for Monedas de hierro,
\n<\/em>a three pages leaflet in english (pdf file)<\/p>\n

Ici vous pouvez t\u00e9l\u00e9charger la fiche technique pour Monedas de hierro,
\nun petit livret de trois pages en anglais (format pdf)<\/em><\/p>\n

Download Monedas de hierro tech rider<\/a><\/p>\n


\n<\/em><\/p>\n

Historique<\/h2>\n

Cr\u00e9ation mondiale
\nAvril 1993
\nMusic Mobile \/ Martin Matalon, direction
\nSaint Peter\u2019s church – New York \/ Etats-Unis<\/p>\n

Juillet 1994
\nJuilliard ensemble – joel Sachs, direction
\nSummer garden – MOMA – New York \/ Etats-Unis<\/p>\n

Juillet 1994
\nEnsemble Intercontemporain (4 repr\u00e9sentations)
\nPascal Roph\u00e9, direction
\nPortes ouvertes IRCAM – Paris \/ France<\/p>\n

Mai 1995
\nBarcelona 216 Ernest Martinez-Izquierdo direction
\nCentro de cultura contemporanea de Barcelona \/ Espagne<\/p>\n

Octobre 1995
\nMusic Mobile \/ Martin Matalon direction
\nNew York University \/ USA<\/p>\n

18 Avril 1997
\nEnsemble Gageego Eric Andriasson direction
\nGotteburg \/ Su\u00e8de<\/p>\n

24 Septembre 1998
\nEnsemble : Ensemble XXe si\u00e8cle. Peter Burwik, direction
\nORF : Radio Autrichienne – Vienne \/ Autriche<\/p>\n

4 Octobre 1998
\nEnsemble : Ensemble XX si\u00e8cle. Peter Burwik, direction
\nFestival de Musique Contemporaine de Dresde \/ Allemagne<\/p>\n

4 & 7 Mars 1999
\nEnsemble Onyx
\nMexico City \/ Mexique<\/p>\n

18 Novembre 2000
\nEnsemble Speculum Musicae
\nMerkin hall – New York \/ USA<\/p>\n

15 Mars 2001
\nSan Francisco Chamber Players
\nBerkeley – San Francisco \/ USA<\/p>\n

8 Juin 2001
\nSan Francisco Chamber Players
\nBerkeley – San Francisco \/ USA<\/p>\n

8 Novembre 2001
\nEnregistrement XXe si\u00e8cle. Jahrhundert. Peter Burwick, direction
\nMusikverein – Vienne \/ Autriche<\/p>\n

Juin 2002
\nEnregistrement et concert par l\u2019\u201dAbsolut ensemble\u201d. Christian Jarvi direction
\nNew York \/ USA<\/p>\n

30 octobre 2002
\nEnsemble Barcelona 216. Martin Matalon, direction
\nBarcelone \/ Espagne<\/p>\n

25 Mars 2003
\nEnsemble Stravinsky. Jean-Pierre Pinet, direction
\nArsenal de Metz \/ France<\/p>\n

23 Septembre 2003
\nEnsemble Court-circuit. Pierre-Andr\u00e9 Valade, direction
\nIRCAM, Paris \/ France
\n12 F\u00e9vrier 2005
\nEnsemble Apostrophe
\nBruno Ferrandis, direction
\nNice \/ France
\n17 Septembre 2006
\nKanako Abe, direction
\nOp\u00e9ra Comique. Paris \/ France<\/p>\n

23 Ao\u00fbt 2008
\nEnsemble instrumental Martin Matalon direction
\nsala Villa Villa – la recoleta
\nBuenos Aires \/ Argentina<\/p>\n

24 Ao\u00fbt 2008
\nEnsemble instrumental Martin Matalon direction
\nsala Villa Villa – la recoleta
\nBuenos Aires \/ Argentina<\/p>\n

25 Ao\u00fbt 2008
\nEnsemble instrumental Martin Matalon direction
\nsala Villa Villa – la recoleta
\nBuenos Aires \/ Argentina<\/p>\n","protected":false},"excerpt":{"rendered":"

(1993) Pour 10 musiciens et \u00e9lectronique. Oeuvre d\u00e9di\u00e9e \u00e0 Claudia Teubal. Note Monedas de Hierro est la version de concert tir\u00e9e de\u00a0La Rosa profunda. Cette derni\u00e8re, command\u00e9e par L’IRCAM en 1992, a servi de composante sonore \u00e0 une installation consacr\u00e9e \u00e0 Jorge Luis Borges. Organis\u00e9e par le Centre Pompidou., cette installation a pris une forme […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-279","post","type-post","status-publish","format-standard","hentry","category-musique-de-chambre-ensembles"],"_links":{"self":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/279","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=279"}],"version-history":[{"count":4,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/279\/revisions"}],"predecessor-version":[{"id":429,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/279\/revisions\/429"}],"wp:attachment":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=279"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=279"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}