DK protos

 

 

DK <protos> is a series of three pieces composed by Ángel Arranz between the years 2006 and 2009 and revised by the composer in several occasions between 2010 and 2013. The singularity of this series is that the three pieces are inspired by the building Bodegas Protos. The three pieces are as follows: DK <sin> for ensemble of 9 dispensable/recombinable parts (+) live electronics; Electronic Study, 4-channel tape; Aquarius, for piano with electronics and orchestra.   

 

 

DK <protos> not only synthesizes architecture and music, but also proposes a multidisciplinar relationship between both disciplines through new technologies. The series takes as a compositional model the building Bodegas Protos, designed by the renowned Florence-born British architect Sir Richard Rogers. The Bodegas Protos model plays a role at mathematical, geometrical, sensorial and poetic levels. 

 

 

DK <sin> [2006 – 2009]

for ensemble of 9 dispensable/recombinable parts (+) live electronics

 

DK <sin> was created using an algorithmic compositional system called "sinusoidal deconstruction". This system was developed by the composer at the Institute of Sonology of The Hague between 2006 and 2009 and currently is being refined and extended. The system pursues multiple purposes, such as an emancipated musical spatiality; the instrumentalization of time's flow, understanding time as constructive matter; the creation of (in)organic forms from the deconstrution of a pre-generated matrix, translating large geometrical structures; a global and fully effective combinatory in each and every multiple possible configurations, producing an ensemble conformed by a variable number of parts, from the solo piece, passing through diverse chamber formations, to the assembly of all contained parts.

 

Pitch distribution diagram for DK &lt;sin&gt;

Diagram for rhythmic sectional distribution in DK<sin> 

 

Electronic Study [2009]

4-channel tape

The second composition is Electronic Study, a 4-channel tape piece composed in 2009. It consists on four sections that take as a reference the representation of the undulated roof of the Bodegas Protos building. The piece uses textures between sustained sounds textures and granulations as elements of discourse articulation. Section after section, the piece accumulates energy until it disseminates in thousands of small "seeds" that liberate sound, spreading it through space-time.

 

The first creative approach to Electronic Study was, literally, by drawing. For that purpose, HighC was used, a software implemented by the French engineer Thomas Baudel. HighC is a digital recreation of UPIC, a musical system invented in 1977 by the architect and composer Iannis Xenakis at the CEMAMu in Paris. 

 

Graphic output of the work Electronic Study using HighC

 

Aquarius [2006 - 2008, rev. 2013]

for piano with electronics and orchestra

Aquarius for piano with electronics and orchestra was commissioned by Bodegas Protos. The building designed by the architect Richard Rogers inspires the work in a rational and poetical way: some mathematical and structural features of the building regulate the temporal organization of the piece, such as the fractal proportionality of the parabolic vaults and the triangular layout of the ground plan. The piece are divided in two movements.

The pianist Akane Takada performing Esquirlas/Vacío in Bodegas Protos

 
In the first movement, A Borbotones [In Gushes], the itinerary of different metronomic velocities is derived from the proportionality of the five vaults lengths, creating five temporal areas along the movement. These temporal areas are distributed according to an horizontal-undulated strategy of spatialization. Some textural gestures, spread along the work, accompany this idea at the surface level.

 

Air view of Bodegas Protos

 

The second movement, Esquirlas/vacío [Splinters/emptiness], describes a deconstructed plan of cadenzas: five suspended cadenzas of different durations, which match with the five vaults of the building; one ‘real’ solo cadenza, representing the “stern” of the building; a freely improvised cadenza at the end, representing the “tip” of the building. Seen from the ground plan, the building is understood as a large pan flute, and each of the five pipes correspond, so to speak, to a different electronic "tone", according to the pipes lengths.

Piano is tacet during the first movement.

Duration of the piece: 25’ ca.

 

 

DK protos on Flickr

 

See complete flickr album here