la vida que vendráOrlando Jacinto García & loadbang

, composer

About

Cuban-American composer Orlando Jacinto García releases la vida que vendrá features four electro-acoustic solo works culminating in an ensemble work for the prolific loadbang ensemble. García invites listeners inside timbre as he explores the interaction between related and contrasting sounds.

Audio

# Audio Title/Composer(s) Performer(s) Time
Total Time 64:07
01Resonating Color Fields
Resonating Color Fields
Andy Kozar, piccolo trumpet11:35
02en un universo paralelo
en un universo paralelo
ty boque, baritone13:50
03Conversations with Harry
Conversations with Harry
Adrían Sandí, bass clarinet12:31
04nubes nocturnas
nubes nocturnas
William Lang, trombone9:19
05la vida que vendrá
la vida que vendrá
loadbang16:52

On la vida que vendrá, Orlando Jacinto García draws our attention inward in various ways. His careful attention to the full envelope of pitches focuses on attacks, durations, and endings, honoring each detail as a discrete musical event. Despite using pre-composed fixed media throughout these electro-acoustic works, García manages to create the illusion of a dynamic, evolving relationship between live performer and electronic sounds. Altogether, this is music that transforms the listening space, creating a halo of sound in each piece.

Resonating Color Fields opens with trumpeter Andy Kozar intoning several clarion calls, each higher than the last and shaped into elegant swells, in what seems initially to be an acoustic void. As the notes ascend, the ambient space becomes increasingly animated. When it reaches a goal pitch, a more active, swirling timbre surrounds the unison arrival. The textures in the trumpet evolve to articulated repeated notes and later fragmentary gestures spanning wider intervallic leaps. The electronics expand the range of the oscillating pitch cluster for increased intensity before compressing back into the swirling unison. In the final section of the piece, we hear delicate glissandi on the strings inside a piano and the resultant resonance created.

en un universo paralelo for baritone ty bouque, with pre-recorded samples of their voice, is an incantation, a fantasy of layered lines that unfolds with ritual intensity. García pulls us in and out of the solo soliloquy context and heterophonic textures, constantly reminding the listener of the reality and the illusion, only to recreate it once again. bouque moves through long tones, chromatic figures sung with variable timbres, and extended techniques that broaden the range of the “enhanced” baritone that García has crafted.

Conversations with Harry, featuring bass clarinetist Adrián Sandí, establishes a duality from the outset between fragile, high register extended techniques and unsettling multiphonics in the middle register. The electronics in this case are samples of clarinetist Harry Spaarnaay’s demonstrations of a technique compendium he assembled, The Bass Clarinet. Midway through the work, a scurrying ascending figure provides the backdrop for a plaintive two note melodic gesture, providing textural contrast. Overall, the prevailing atmosphere on Conversations with Harry is one of quiet, restless energy, interrupted by the grind of moments of tightly wound discord.

nubes nocturnas for trombone and electronics, played by William Lang, returns to the reverent mood of en un universo paralelo with an expansive low register drone alternating down a major second that highlights the trombone’s rich overtone content. As the piece progresses, García introduces grainy multiphonics that populate the live part and the electronics, and the pitch landscape migrates away from the initial two fundamentals.

The title track la vida que vendrá is scored for the full loadbang quartet, and is the only acoustic work on the album. García takes advantage of the potential for dialogue between instruments to create the most rhythmically vital piece on the album. The work opens with two phrases on a unison pitch passed through the ensemble, highlighting the subtle differences between each instrument’s timbre. bouque whispers and articulates text fragments, then intoning new pitches which the winds reinforce in their sustain. A unison rhythm in the winds signals a new section, a hint at characteristic Cuban rhythms. But García’s point of view on these evocative stylistic elements is from a stance of late Stravinskian detachment; they are extracted from a typically orchestrated ensemble context and considered on their own, as musical artifacts. The instrumentalists are assigned subtle percussion parts, creating momentary polyrhythmic landscapes, before they quickly fade away. García uses these fleeting rhythmic episodes as coloristic elements in the trajectory of the work, emerging and receding to act in consort with the more contemplative moments. Despite the presence of four musicians instead of one, the music retains the quietude that is pervasive throughout the album, an introspective contemplation of the nature of sound and timbre unfolding at a pace that facilitates close listening.

– Dan Lippel

Resonating Color Fields (1) and nubes nocturnas (4) recorded on August 2, 2023 at Oktaven Audio in Mt. Vernon, NY

 

en un universo paralelo (2), Conversations with Harry (3), and la vida que vendrá (5) recorded on October 26, 2023 at Oktaven Audio in Mt.Vernon, NY

 

Engineering: Ryan Streber

Mixing: Ryan Streber

Mastering: Ryan Streber

 

Art and Layout: Alex Eckman-Lawn

loadbang

New York City-based new music chamber group loadbang is building a new kind of music for mixed ensemble of trumpet, trombone, bass clarinet, and baritone voice. Since their founding in 2008, they have been praised as ‘cultivated’ by The New Yorker, ‘an extra-cool new music group’ and ‘exhilarating’ by the Baltimore Sun, ‘inventive’ by the New York Times and called a 'formidable new-music force' by TimeOutNY. Their unique lung-powered instrumentation has provoked diverse responses from composers, resulting in a repertoire comprising an inclusive picture of composition today. In New York City, they have been recently presented by and performed at Miller Theater, Symphony Space, MATA and the Avant Music Festival; on American tours at Da Camera of Houston, Rothko Chapel, and the Festival of New American Music at Sacramento State University; and internationally at Ostrava Days (Czech Republic), China-ASEAN Music Week (China) and Shanghai Symphony Hall (China).

loadbang has premiered more than 250 works, written by members of the ensemble, emerging artists, and today's leading composers. Their repertoire includes works by Pulitzer Prize winners David Lang and Charles Wuorinen; Rome Prize winners Andy Akiho and Paula Matthusen; and Guggenheim Fellow Alex Mincek. Not content to dwell solely in the realm of notated music, loadbang is known for its searing and unpredictable improvisations, exploring the edges of instrumental and vocal timbre and technique, and blurring the line between composed and extemporaneous music. To this end, they have embarked on a project to record improvisations and improvised works written by members of the ensemble. These recordings are designed, fabricated, and released in hand-made limited editions. loadbang can also be heard on a 2012 release of the music by John Cage on Avant Media Records, a 2013 release of the music of loadbang member Andy Kozar titled 'On the end...' on ANALOG Arts Records which was called ‘virtuosic’ by The New Yorker, a 2014 release on ANALOG Arts Records titled Monodramas, a 2015 release on New Focus Recordings titled LUNGPOWERED which was called ‘new, confident, and weird’ by I Care If You Listen and 'an album of quietly complex emotions' by The New Yorker, and a 2017 Bridge Records release titled Charles Wuorinen, Vol. 3, featuring the music of Charles Wuorinen.

loadbang is dedicated to education and cultivation of an enthusiasm for new music. They have worked with students ranging from elementary schoolers in the New York Philharmonic's Very Young Composers program and the Baltimore Symphony Orchestra’s OrchKids Program to college aged student composers at institutions including Columbia University, Cornell University, Manhattan School of Music, New York University, Peabody Conservatory, Princeton University, University of Buffalo, and Yale University. They are in residence at the Charlotte New Music Festival, the Longy School of Music's summer program Divergent Studio, and all four members are on the instrumental and chamber music faculty of the Longy School of Music of Bard College in Boston.

http://www.loadbang.com

Orlando Jacinto García

Through more than 200 works composed for a wide range of performance genres including interdisciplinary (video, film, dance), site specific, and works with and without electronics for orchestra, choir, soloists, and a variety of chamber ensembles, Orlando Jacinto García has established himself as an important figure in the new music world. The distinctive character of his music has often been described as “time suspended-sonic explorations” qualities he developed from his studies with Morton Feldman among others.

Born in Havana, Cuba in 1954, Garcia migrated to the United States in 1961. In demand as a guest composer, he is the recipient of numerous honors and awards from a variety of organizations and institutions including the American Academy of Arts and Letters, Rockefeller, Fulbright, Knight, Civitella, Bogliasco, and Cintas Foundations, State of Florida, MacDowell and Millay Colony, and the Ariel, Noise International, Matiz Rangel, Nuevas Resonancias, Salvatore Martirano, and Bloch International Competitions. Most recently he has been the recipient of 5 Latin Grammy nominations in the Best Contemporary Classical Composition Category (2009-11, 2015, 2021). With performances around the world at important venues by distinguished performers, his works are recorded on New Albion, O.O. Discs, CRI /New World, Albany, North/South, CRS, Rugginenti, VDM, Capstone, Innova, CNMAS, Opus One, Telos, Toccata Classics, and Metier/Divine Art.

Garcia is the founder and director of the NODUS Ensemble, the Miami Chapter of the International Society for Contemporary Music, the New Music Miami ISCM Festival, and is a resident composer for the Miami Symphony. A dedicated educator, he is Distinguished University Professor and Composer in Residence for the School of Music at Florida International University.

Related Albums