Five Spanish Pioneers of Electronic & Experimental Music
Sub Rosa drop a pin on Spain’s little known 1950s/‘60s concrète and electro-acoustic pioneers, working under the tyranny of the Franco era, but linked to an international rhizome of progressive experimenters
Collated, edited, and annotated by musicologist Miguel Álvarez-Fernández, the set spans distinctive examples of electronic inquiry conducted to their own rules and often without any state assistance, in contrast to better-funded European studios and institutes at the time. The dark shadow of Franco’s fascism looms in the background, but didn’t stop them dreaming in sound that would be hardly heard by anyone in their own country, leading some to forge ties with the fluxus movement and record at Ghent’s IPEM, and didn’t stop them participating in the influential Darmstadt festivals. They range from the subtly febrile fantasia of José Val del Omar; to Eduardo Polonio’s nervy noise pulses; the mutated worksite clamour of Josep Maria Mestres Quadreny; a tape cut-up pregnant with dread, composed by Juan Hidalgo; and avant-classical spectralism comparable to Iancu Dumtrescu, by Cristoóbal Halffter.
"Jose Val del Omar (1904-1982) was essentially a creator, a filmmaker developing a dreamlike art—not without links with Federico Garcia Lorca or Luis Buñuel.
Eduardo Polonio (1941-) worked between 1966 and 1970 at the Institute of Psychoacoustics and Electronic Music-IPEM of the University of Ghent, Belgium. He has published, in forty years, more than a hundred works.
Josep Maria Mestres Quadreny (1929-2011) joined in 1952 the Manuel de Falla Circle and in 1974 he founded the Laboratori de Música Electroacústica Phonos. During his life he collaborated with Joan Miró and Antoni Tàpies.
Juan Hidalgo (1927-2018) participated in 1957 in the music festival XII Internationale Ferienkurse Fur Neue Musik in Darmstadt. The following year he met the American composers John Cage and David Tudor. Member of Fluxus, in 1966 he participated with Gustav Metzger, Otto Muehl, Wolf Vostell and Hermann Nitsch in the Destruction in Art Symposium in London."
Cristóbal Halffter (1930-2021) was soon considered one of the most important composers of his generation. As a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, he worked with Pierre Boulez, Karlheinz Stockhausen and Luciano Berio."
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Sub Rosa drop a pin on Spain’s little known 1950s/‘60s concrète and electro-acoustic pioneers, working under the tyranny of the Franco era, but linked to an international rhizome of progressive experimenters
Collated, edited, and annotated by musicologist Miguel Álvarez-Fernández, the set spans distinctive examples of electronic inquiry conducted to their own rules and often without any state assistance, in contrast to better-funded European studios and institutes at the time. The dark shadow of Franco’s fascism looms in the background, but didn’t stop them dreaming in sound that would be hardly heard by anyone in their own country, leading some to forge ties with the fluxus movement and record at Ghent’s IPEM, and didn’t stop them participating in the influential Darmstadt festivals. They range from the subtly febrile fantasia of José Val del Omar; to Eduardo Polonio’s nervy noise pulses; the mutated worksite clamour of Josep Maria Mestres Quadreny; a tape cut-up pregnant with dread, composed by Juan Hidalgo; and avant-classical spectralism comparable to Iancu Dumtrescu, by Cristoóbal Halffter.
"Jose Val del Omar (1904-1982) was essentially a creator, a filmmaker developing a dreamlike art—not without links with Federico Garcia Lorca or Luis Buñuel.
Eduardo Polonio (1941-) worked between 1966 and 1970 at the Institute of Psychoacoustics and Electronic Music-IPEM of the University of Ghent, Belgium. He has published, in forty years, more than a hundred works.
Josep Maria Mestres Quadreny (1929-2011) joined in 1952 the Manuel de Falla Circle and in 1974 he founded the Laboratori de Música Electroacústica Phonos. During his life he collaborated with Joan Miró and Antoni Tàpies.
Juan Hidalgo (1927-2018) participated in 1957 in the music festival XII Internationale Ferienkurse Fur Neue Musik in Darmstadt. The following year he met the American composers John Cage and David Tudor. Member of Fluxus, in 1966 he participated with Gustav Metzger, Otto Muehl, Wolf Vostell and Hermann Nitsch in the Destruction in Art Symposium in London."
Cristóbal Halffter (1930-2021) was soon considered one of the most important composers of his generation. As a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, he worked with Pierre Boulez, Karlheinz Stockhausen and Luciano Berio."