Cello in my life
Mesías Maiguashca
Cello in my life
Boomkat Product Review:
Following 2021's 'Música para cinta magnética (+) instrumentos (1967–1989)' anthology, Buh Records continues its appraisal of Ecuadorian composer Mesías Maiguashca with six electro-acoustic soundscapes recorded between 1972 and 2015 that focus on his enduring relationship with the cello.
Since the 1960s, Quito-born instrument builder and Cologne School innovator Maiguashca has been reshaping electro-acoustic music in his image, and bringing a unique Latin American perspective to sounds that all too often remain trapped within the boundaries of the Euro-centric avant-garde. 'Cello in my life' is his second collaboration with Lima's Buh imprint and cracks open a different aspect of his canon, highlighting his years of work with celebrated cellist Gaby Schumacher. When he wrote and recorded 'Übungen' (exercises) between 1972 and '73, Maiguashca was stationed in Germany. He'd studied with Karlheinz Stockhausen in the late '60s, and been part of the composer's Expo '70 ensemble, and the '70s helped to establish the Oeldorf Group, a collective that explored the possibilities of live electronic music. Working at IRCAM in Paris, the Centre Européen pour la Recherche Musicale in Metz and Karlsruhe's ZKM, Maiguashca was a central figure in the scene at the time, and his ambition is clear on 'Übungen', an extended 15-minute piece for cello and synthesizer. Instructing Schumacher to extract synth-like tones from her instrument, Maiguashca mirrors her motions, replying to the bowed wails with progressively garbled phrases and sputters.
And the relationship is spied from a completely different perspective on '73's 'Lindgren', with Maiguashca playing magnetic tape against Schumacher's relatively clean recital. Here, Maiguashca's muted, microtonally-tuned sine wave resonances and saturated instrumental bursts don't echo Schumacher's strokes but complement them, suggesting alien harmonies and wild, vociferous sonic recourses. Lurching two decades forward, when Maiguashca was teaching at the Musikhochschule of Freiburg im Breisgau, 1992's 'El Oro' is billed as a meditation on the cultural collision between the old world and the new, and features Martina Roth on flute alongside Schumacher's cello and Maiguashca's unsettling whispered vocals. The flute, played in breathy, rhythmic exhalations represents the old world, while Schumacher gestures to contemporary minimalism with her harmonically rich phrases; it's Maiguashca who seals the deal, whispering, vocalizing and muttering in Spanish to upset the balance between folk tradition and academia. The album's newest piece, from 2015, is 'Por el yasuni', a reaction to the protests in Ecuador against oil drilling in Yasuní National Park that Maiguashca represents with clashing string parts (from Antonio Pellegrini on violin and Schumacher) and vanishing snippets of the events on the ground.
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Boomkat Product Review:
Following 2021's 'Música para cinta magnética (+) instrumentos (1967–1989)' anthology, Buh Records continues its appraisal of Ecuadorian composer Mesías Maiguashca with six electro-acoustic soundscapes recorded between 1972 and 2015 that focus on his enduring relationship with the cello.
Since the 1960s, Quito-born instrument builder and Cologne School innovator Maiguashca has been reshaping electro-acoustic music in his image, and bringing a unique Latin American perspective to sounds that all too often remain trapped within the boundaries of the Euro-centric avant-garde. 'Cello in my life' is his second collaboration with Lima's Buh imprint and cracks open a different aspect of his canon, highlighting his years of work with celebrated cellist Gaby Schumacher. When he wrote and recorded 'Übungen' (exercises) between 1972 and '73, Maiguashca was stationed in Germany. He'd studied with Karlheinz Stockhausen in the late '60s, and been part of the composer's Expo '70 ensemble, and the '70s helped to establish the Oeldorf Group, a collective that explored the possibilities of live electronic music. Working at IRCAM in Paris, the Centre Européen pour la Recherche Musicale in Metz and Karlsruhe's ZKM, Maiguashca was a central figure in the scene at the time, and his ambition is clear on 'Übungen', an extended 15-minute piece for cello and synthesizer. Instructing Schumacher to extract synth-like tones from her instrument, Maiguashca mirrors her motions, replying to the bowed wails with progressively garbled phrases and sputters.
And the relationship is spied from a completely different perspective on '73's 'Lindgren', with Maiguashca playing magnetic tape against Schumacher's relatively clean recital. Here, Maiguashca's muted, microtonally-tuned sine wave resonances and saturated instrumental bursts don't echo Schumacher's strokes but complement them, suggesting alien harmonies and wild, vociferous sonic recourses. Lurching two decades forward, when Maiguashca was teaching at the Musikhochschule of Freiburg im Breisgau, 1992's 'El Oro' is billed as a meditation on the cultural collision between the old world and the new, and features Martina Roth on flute alongside Schumacher's cello and Maiguashca's unsettling whispered vocals. The flute, played in breathy, rhythmic exhalations represents the old world, while Schumacher gestures to contemporary minimalism with her harmonically rich phrases; it's Maiguashca who seals the deal, whispering, vocalizing and muttering in Spanish to upset the balance between folk tradition and academia. The album's newest piece, from 2015, is 'Por el yasuni', a reaction to the protests in Ecuador against oil drilling in Yasuní National Park that Maiguashca represents with clashing string parts (from Antonio Pellegrini on violin and Schumacher) and vanishing snippets of the events on the ground.
Boomkat Product Review:
Following 2021's 'Música para cinta magnética (+) instrumentos (1967–1989)' anthology, Buh Records continues its appraisal of Ecuadorian composer Mesías Maiguashca with six electro-acoustic soundscapes recorded between 1972 and 2015 that focus on his enduring relationship with the cello.
Since the 1960s, Quito-born instrument builder and Cologne School innovator Maiguashca has been reshaping electro-acoustic music in his image, and bringing a unique Latin American perspective to sounds that all too often remain trapped within the boundaries of the Euro-centric avant-garde. 'Cello in my life' is his second collaboration with Lima's Buh imprint and cracks open a different aspect of his canon, highlighting his years of work with celebrated cellist Gaby Schumacher. When he wrote and recorded 'Übungen' (exercises) between 1972 and '73, Maiguashca was stationed in Germany. He'd studied with Karlheinz Stockhausen in the late '60s, and been part of the composer's Expo '70 ensemble, and the '70s helped to establish the Oeldorf Group, a collective that explored the possibilities of live electronic music. Working at IRCAM in Paris, the Centre Européen pour la Recherche Musicale in Metz and Karlsruhe's ZKM, Maiguashca was a central figure in the scene at the time, and his ambition is clear on 'Übungen', an extended 15-minute piece for cello and synthesizer. Instructing Schumacher to extract synth-like tones from her instrument, Maiguashca mirrors her motions, replying to the bowed wails with progressively garbled phrases and sputters.
And the relationship is spied from a completely different perspective on '73's 'Lindgren', with Maiguashca playing magnetic tape against Schumacher's relatively clean recital. Here, Maiguashca's muted, microtonally-tuned sine wave resonances and saturated instrumental bursts don't echo Schumacher's strokes but complement them, suggesting alien harmonies and wild, vociferous sonic recourses. Lurching two decades forward, when Maiguashca was teaching at the Musikhochschule of Freiburg im Breisgau, 1992's 'El Oro' is billed as a meditation on the cultural collision between the old world and the new, and features Martina Roth on flute alongside Schumacher's cello and Maiguashca's unsettling whispered vocals. The flute, played in breathy, rhythmic exhalations represents the old world, while Schumacher gestures to contemporary minimalism with her harmonically rich phrases; it's Maiguashca who seals the deal, whispering, vocalizing and muttering in Spanish to upset the balance between folk tradition and academia. The album's newest piece, from 2015, is 'Por el yasuni', a reaction to the protests in Ecuador against oil drilling in Yasuní National Park that Maiguashca represents with clashing string parts (from Antonio Pellegrini on violin and Schumacher) and vanishing snippets of the events on the ground.
Boomkat Product Review:
Following 2021's 'Música para cinta magnética (+) instrumentos (1967–1989)' anthology, Buh Records continues its appraisal of Ecuadorian composer Mesías Maiguashca with six electro-acoustic soundscapes recorded between 1972 and 2015 that focus on his enduring relationship with the cello.
Since the 1960s, Quito-born instrument builder and Cologne School innovator Maiguashca has been reshaping electro-acoustic music in his image, and bringing a unique Latin American perspective to sounds that all too often remain trapped within the boundaries of the Euro-centric avant-garde. 'Cello in my life' is his second collaboration with Lima's Buh imprint and cracks open a different aspect of his canon, highlighting his years of work with celebrated cellist Gaby Schumacher. When he wrote and recorded 'Übungen' (exercises) between 1972 and '73, Maiguashca was stationed in Germany. He'd studied with Karlheinz Stockhausen in the late '60s, and been part of the composer's Expo '70 ensemble, and the '70s helped to establish the Oeldorf Group, a collective that explored the possibilities of live electronic music. Working at IRCAM in Paris, the Centre Européen pour la Recherche Musicale in Metz and Karlsruhe's ZKM, Maiguashca was a central figure in the scene at the time, and his ambition is clear on 'Übungen', an extended 15-minute piece for cello and synthesizer. Instructing Schumacher to extract synth-like tones from her instrument, Maiguashca mirrors her motions, replying to the bowed wails with progressively garbled phrases and sputters.
And the relationship is spied from a completely different perspective on '73's 'Lindgren', with Maiguashca playing magnetic tape against Schumacher's relatively clean recital. Here, Maiguashca's muted, microtonally-tuned sine wave resonances and saturated instrumental bursts don't echo Schumacher's strokes but complement them, suggesting alien harmonies and wild, vociferous sonic recourses. Lurching two decades forward, when Maiguashca was teaching at the Musikhochschule of Freiburg im Breisgau, 1992's 'El Oro' is billed as a meditation on the cultural collision between the old world and the new, and features Martina Roth on flute alongside Schumacher's cello and Maiguashca's unsettling whispered vocals. The flute, played in breathy, rhythmic exhalations represents the old world, while Schumacher gestures to contemporary minimalism with her harmonically rich phrases; it's Maiguashca who seals the deal, whispering, vocalizing and muttering in Spanish to upset the balance between folk tradition and academia. The album's newest piece, from 2015, is 'Por el yasuni', a reaction to the protests in Ecuador against oil drilling in Yasuní National Park that Maiguashca represents with clashing string parts (from Antonio Pellegrini on violin and Schumacher) and vanishing snippets of the events on the ground.
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