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Jose Manuel Lopez Lopez - 2008 - Works For Soloists And Ensemble (FLAC, NEOS 10814)

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Music : Classical : Lossless
 

Neos
NEOS 10814.

1	Le Parfum De La Lune 17:49
2	El Arte De La Siesta 18:28
3	A Tempo 15:00
4	Rhea 5:58

There exists “grave” music – bound to the earth: it drifts up from below, is
pleasant enough but paralyses us in that it moves us. Ponder on the virile strength of rock music, on the chthonic sound
masses of Xenakis, or the drums of Burundi … And then there is “weightless” music that, in a Kantian
sense, is – if anything – sublime and which allows feelings to be engendered, and which – if
anything – attempts an elusion in the air and brushes poetic and arcane strings.
If we were to allocate
(with the help of such a simple double image) the music of José Manuel López López such a niche – one
would expect this of course from a musicologist who loves terms and pigeon holes – then we would expect to see
his art as a weightless one. His music may in many ways be taken as an art of the obviously sonic, as an art that seeks
a dissolution of material rendered supple and elastic.
His music has no solid elements, and as soon as anything
remotely rigid appears, it becomes blurred. Just as with spectral music, form is often determined by process, this being
a continual development in which material seems to slip through one’s fingers. Another quality of this music
points us in the same direction: the extreme subtlety of the composition itself, especially its timbre, which is
somewhat reminiscent of impressionism, i.e. the musical art of fleeting shadows that renders everything malleable.
In its sheer variety, this ars subtilior impinges on our subconscious, our thoughts thus trained toward the composer.
Furthermore, the average listener – who can not escape gravity of course – is catapulted into the
tree-tops of the cypresses, thanks to the “rockets” (rapid scales in upward motion) whose trajectory we must
follow, or the long note values in the most extreme high registers. But perhaps the most important characteristic of
this music is its weightlessness, the intense feeling of sonic compression as it were.
José Manuel López
López comments on his own development as a composer: “from the note to a spectrum and from pure music to
compressed sound”. This is demonstrated well on the present CD, which contains works dating from 2003, 2005 and
1998. And an early one – perhaps a piece of juvenilia, one that emerged during an era in which an alchemic art of
merging spectra and sonic poetry had not yet emerged.
Le parfum de la lune (2003) for solo violin and instrumental
ensemble (dedicated to Dominique Dournaud and Anne Mercier and commissioned by the Résidence en Bourgogne) was
inspired by Yosa Buson (1716–1784) and his haiku poetry, which offers neither philosophy nor emphatic gestures,
but draws on the most subtle structures of the objects of nature herself, as in the lines “In the evening wind /
my face brushes against / part of the mosquito net.”
The composer writes: “The idea was […] to
use the various conditions of the mind, of time, and of nature et cetera, as used by Buson, harnessing these states as
perceptible musical forms governed by the physics of sound.” It would be difficult to identify the exact analogy
between a haiku and a specific musical moment, but it remains probable that the solo violin – which delivers
constant new impulses – is that which drives the string ensemble.
With regard to the “physics of
sound”, José Manuel López López derives his musical material from spectral analyses of a complex sound
and advanced performance techniques of the instruments used. The intensity of the highly compressed sound experienced by
the listener in Le parfum de la lune is achieved by the incredibly rich timbres, and the methods used to actually
produce a sound – here, the violin is not alone. In many senses, the weightlessness of this work takes on the
mantel of our own past childhood.
We draw attention to the following “blithe” passages: the opening
long note in extreme high register, the spectral arpeggio in bar 31 (02:00 in the present recording); the rockets (bar
38, 02:43); the rainsticks (bar 105, 06:40) – [a rainstick (or rainmaker) is a long, hollow tube which is filled
with small baubles such as beads or beans. It is generally used to create atmospheric sound effects]; the upwards
glissandi in the strings, multiphonics in the winds, spectral scales […] (bar 118, 08:19); solo violin and then
the string tutti on a single line, one which “searches for the frequency played on the clarinet before going its
own way with it”, the frequency being the highest playable note (bar 239, 13:15).
El arte de la siesta (2005)
for solo accordion, flute, clarinet, piano, percussion, violin, violoncello and real time electronics was commissioned
by Esteban Algora for the CIRM Festival Manca 2005 in Nice. The composer was influenced by Chinese poets of various
dynasties, such as Lo Tien (772–846), Ming (1368–1644) and Wen Cheng Min (1470–1599). He turned his
attention to the typical sounds of the summer: the baking heat, the twittering of song birds at twilight, the gentle
breeze, the warm wind, the luxuriant foliage of the trees, the sudden shower, and welcome drizzle.
Technical
apparatus and a compositional technique availing itself of instrumental and data solutions enabled him to produce a
timeless sensory world. Mention should be made of the fact that the accordion – kitted out as it is with bellows
– is entirely suited for a musical description of a siesta! From the very beginning
(bar 2, 00:53), the pianist, who is directed to slam down the lid of his instrument with great vehemence, makes us all
too aware that the dream is also going to become a nightmare; and this proves to be the case, for the music gets
gradually stronger and more threatening.
One should not really take a siesta after a heavy meal! And yet, as always
with José Manuel López López, weightlessness prevails – for this the electronics must be thanked, along
with its grainy quality (audible first at bar 7, 01:14) that is imitated by the instruments for a while, at the passage
that reminds us of the rainsticks.
A Tempo (1998) for solo violoncello and instrumental ensemble was dedicated to
Pierre Strauch and is characterised by a plethora of categories of time (structural, contemplative, physical,
psychological et cet., according to the composer). From the dominance of the spectral chord based on low C, whose upper
partials continually come and go, to the technique of “rockets”, and other aspects, this is perhaps the one
piece on the present CD that reminds one most of the music of Debussy – at least in the central section, in which
the French master is more readily called to mind.
It is in this part that two demonstrably fluid spectral chords
appear (one example being the rising arpeggio C, G, e, a#, f#1, c#2 in bar 218, 04:52). They dissolve towards the end of
the work, providing a contrast to the choppy beginning made up of small motifs. As for the rest of A Tempo, it remains
one of the first works from the œuvre of José Manuel López López to busy itself with the aesthetic of
compressed sound, interweaving as it does a certain spirituality and the physics of sound itself.
Of relevance here
is the picture conjured up by a comment the composer once made with regard to the state of music à la Borges:
“In this work I found myself to be in a state of an unexpected and somewhat strange chemical reaction that pushed
me on into the experiment bar by bar, allowing me to take paths that I otherwise would never have taken. Thus it was
that I gradually reached a state of symbiosis, one which I had perhaps been aiming at all along: the reciprocity of
compressed sound in the natural science and hence natural science in music. A never-ending series of spiritual
states…affects or deeply rooted moods…came to pass and reached out into the world of physical laws on the
wings of a musical language governed by simple and direct gestures.”
Dedicated to Nicolas Brochot, Rhea
(1989), for string trio and instrumental ensemble bears witness to an intense period of work on the nature of musical
time. The word reô is Greek for “flow”; furthermore, Rhea – the “goddess of time”, as
the composer says. Shorter than the previous piece, this work is also cruder, maintaining no lightness of being, donning
the garb of classicism and sounding a little more like “contemporary music”.
Of import here are not
sound, timbre, or any harmonic or gestural devolution. The original spatial demands (the soloists to stand centre stage,
the ensemble to be divided into two groups, left and right) helped a youthful José Manuel López López conceive
some novel sounds. As for the rest, the “relationship between time and space […] the development of aural
space so to say is not that of a flat object to a linear one, but that of an object with differing and changing surfaces
– the score becomes a kind of three dimensional sonic sculpture, one which moves around in front of us in order
to present all its various audible aspects”. - Makis Solomos, CD booklet

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