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Beuger, Antoine and colectivo maDam: .. Of Being Numerous (Edition Wandelweiser Records)

Antoine Beuger's piece merges compositional and improvised approaches, drawing on the text "the memories of RN", as he performs on flute, voice and objects with the electroacoustic improvising ensemble Colectivo maDam, merging long instrumental phrases with words, syllables or letters, using space and detachment to create numerous possibilities to resonate.
 

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product information:


UPC: 4011778041092

Label: Edition Wandelweiser Records
Catalog ID: EWR 1901
Squidco Product Code: 27517

Format: CD
Condition: New
Released: 2019
Country: Austria
Packaging: Cardstock 3 page foldover in vinyl sleeve
Recorded at Espacio B, in Madrid, Spain, on October 6th, 2018, by David Area.


Personnel:

Joan Espasa-bass clarinet, voice, stones

Antoine Beuger-composer

Ruben Gutierrez-electronics, voice, objects

Colectivo maDam-ensemble

Guillermo Torres-Flugelhorn, voice, stones

Antoine Beuger-flute, voice, objects

Tomas Gris-melodica, voice, objects

Victor Lowrie-singing bowls, voice, objects

David Area-synthesizer, voice, objects

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Artist Biographies:

"Joan Espasa (Madrid 1976), after graduating in Classical Philology at the UCM and obtaining the title of clarinet teacher, expands his studies at the Sorbonne (Paris IV), where he does the doctoral courses and obtains the DEA in Greek Literature. Subsequently he has studied Dramaturgy at RESAD, where he graduated in 2006.

He is the author, among others, of the works, The Heart of Ophelia: Macbeth's last hours in the bare forest of Birnam, The Night of the Million Worlds (Ed. Fundamentals 2005 and 2007), Codes and Medea: you decide. He is also a member of the free improvisation collective maDam and a contributor to the fanzine klof and the Radio Vallekas Perro Flaco program."

-Accademia Di Spagna (http://www.accademiaspagna.org/portfolio/joan-espasa-rodriguez/)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Antoine Beuger (b. 1955 in Oosterhout, Netherlands) studied composition with Ton de Leeuw at Sweelinck Coservatorium in Amsterdam 1973-78. In 1990 he began composing after an interruption of about 10 years. Two years later he founded Edition Wandelweiser together with composer/performer Burkhard Schlothauer. Since 1994 he's been active with the conception and organisation of KLANGRAUM, a concert series at Kunstraum Düsseldorf. During the years 1995-2001 he was working together with visual artist Mauser as artistic director of "Werkraum", Place for Interdisciplinary Artistic Events, Cologne. Since 1996 he's been artistic director of edition wandelweiser records and since 2004 managing director of Edition Wandelweiser gmbh."

-Last.FM (http://www.last.fm/music/Antoine+Beuger/+wiki)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"The MaDam Collective is, in a way, a group dedicated to electroacoustic improvisation. Since its inception in 2011, and with musical improvisation (listening) as a starting point, maDam has explored nearby territories, such as composition and stage.

Electroacoustic improvisation

The MaDam Collective was born as a space for the exploration of musical improvisation in a group. Since its inception, MaDam has collaborated with an important sample of Spanish and foreign improvisers, among which we can highlight: Felipe Araya, Lali Barriere, Lucas Bolaño, Paloma Carrasco, Johnny Chang, Nilo Gallego, Antonia Funes, Miguel A. García, Rui Horta Santos, Jonah Girl, Dr. Kurogo, Alexander Markvart, Eugene Martynec, Wade Matthews, Mattin, Marcio Mattos, Abdul Moimême, Seijiro Murayama, Montserrat Palacios, Javier Pedreira, Marta Sainz, Enrique Zacagnini, etc. MaDam has a habitual presence in the main spaces dedicated to improvisation and experimental music (Cruce, Menosuno, Espacio Naranjo, La Tortuga, all of them in Madrid) and has taken part in centers such as La Casa Encendida, MNCARS, Matadero Madrid, Real Conservatorio Superior Of Madrid Music, Faena II, Alabanda Tavern, Yoga Center, Omnivorous Workshop, Habitar the line, etc.

Composition

From indeterminacy and freedom and with silence as a source, the MaDam Collective has prepared a long series of pieces, constituting, in most cases, premieres in Spain. For the preparation of the pieces, the MaDam Collective has collaborated with different composers, many of whom have had the opportunity to develop work sessions and concerts with themselves (Llorenç Barber, Antoine Beuger, Radu Malfatti, Michael Pisaro, Hector Rey , Taku Sugimoto, etc.) or, where this has not been possible, through an epistolary relation (Lucio Capece, Taylan Susam, etc.)."

-MadamConBarba Site (Translated by Google) (https://madamconbarba.wordpress.com/madam/)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Guillermo Torres plays trumpet, flugelhorn and flute, he is a member of Colectivo maDam, Nanimo, and Variable Geometry Orchestra.

-Discogs (https://www.discogs.com/artist/2347703-Guillermo-Torres)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Antoine Beuger (b. 1955 in Oosterhout, Netherlands) studied composition with Ton de Leeuw at Sweelinck Coservatorium in Amsterdam 1973-78. In 1990 he began composing after an interruption of about 10 years. Two years later he founded Edition Wandelweiser together with composer/performer Burkhard Schlothauer. Since 1994 he's been active with the conception and organisation of KLANGRAUM, a concert series at Kunstraum Düsseldorf. During the years 1995-2001 he was working together with visual artist Mauser as artistic director of "Werkraum", Place for Interdisciplinary Artistic Events, Cologne. Since 1996 he's been artistic director of edition wandelweiser records and since 2004 managing director of Edition Wandelweiser gmbh."

-Last.FM (http://www.last.fm/music/Antoine+Beuger/+wiki)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Tomás Gris (1980, Madrid, Spain)

Bachelor and Máster of Philosophy.

In his artwork the influence of his other occupations (Phd on Philosophy, painting,...) and, specially, the field of cinema, are always present.

Tomás Gris doesn´t plays fixed instruments: He just plays.

Tomás Gris also manages Ex-Nihilo records (Improvisation / Noise Label) with David Area.

Tomás Gris develops (or has developed) his work with people like: Alberto de la Hoz, Alfredo Costa Monteiro, Tim Olive, Miguel A. Garcia (Xedh), Artur Vidal, David Area, Johnny Chang, Antoine Beuger, Sebastien Branche, Javier Pedreira, Taku Sugimoto, Wade Matthews, Lali Barriere, Tom Soloveitzik, Guilherme Rodrigues, Prague Improvisation Orchestra conducted by George Cremaschi (PIO), Petr Vrba, Gino Robair, maDam Collective, Marina Adeva, Xabier López, Miguel Angel de Blas, Lucie Pachova, Mikulas Mrva , Nau (dancers), Manuela Lucia Tessi, Eva Susova, If bwana, Jana Novorytova, Marta Sainz, Katerina Dieztova, Cristina Subirats, Lee Noyes, Loty Negarti, Marta Sainz, Maryah Marymotto, Claudia Faci, Yolanda de la Hoz, Alejandro Rojas-Marcos, Fernando Romo, Xus de la Cruz, Felipe Araya, Iber de Vicente, Niña Jonas, Dr. Kurogo, Daiben, Catatonic State, Brutalism, Ricardo Lobato,...

... in places like: Cruce (Madrid), Espacio Menosuno (Madrid), Pecena Brambora (Prague), Matadero (Madrid), Can Felipa (Barcelona, Spain), Skolska 28 (Prague, Czech Republic), UCM (Facultad de Filosofía, Madrid), ArpHouse (Madrid), MeetFactory (Prague), Larraskito (Bilbao, Spain), Divus (Prague), Indigo Cafe (Prague), Dejvicka Klubovna (Prague), Studio Alta (Prague), OpenAir Festival (Hradec Kralove, Czech Republic), Festival Escucha (Madrid), Com a Minim Festival (Barcelona), Liceo Mutante (Pontevedra), Zarata Fest (Bilbo), Labranza Bar (Pontevedra), Espacio Naranjo (Madrid), Teatro Pradillo (Madrid), DT Espacio Escénico (Madrid), Artescopio (Madrid), RESAD (Madrid), RNE (Madrid), Creative Sources Festival (Lisboa), Tokyo, ...2011 • Miguel A. García & Tomás Gris"

-Tomas Gris Website (https://tomasgris.wordpress.com/about/)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Victor Lowrie is a versatile violist and composer living in New York City. He has performed as a soloist and chamber musician with groups including Signal, Wordless Music Orchestra, Either/Or, Kavak Trio and Argento Chamber Ensemble. Victor's compositions include an awardwinning trio a landscape (viola, bassoon, piano), Runaway (viola & electronics), Question (for Kavak Trio) and an upcoming string quartet to be premiered by MIVOS in 2011. He can be heard on recordings from New Amsterdam, Kill Rock Stars, Quiet Design, Sunnyside and Tzadik Records. As an educator, Victor has given masterclasses and guest lectures at Brooklyn College and the EAFIT University in Medellín, Colombia. Victor grew up on the idyllic central coast of California and received his Bachelor's degree from San Francisco State University. He earned his Master's degree in Contemporary Viola Performance from the Manhattan School of Music."

-Mivos String Quartet Website (https://www.mivosquartet.com/)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"David Area enters the Spanish underground scene in 2010 with the creation of the portal "Fungus Cerebri", which almost immediately becomes the information referent of the national noise-industrial movement. Following the success of that work creates Mattoid Records, label focused entirely on the most abrupt sides of noise genre.As a musician, he starts with small projects following the noisy line being Catatonic State the most relevant of this slope, in which combines the essence of the Harsh Noise Wall with live performance. In 2014, he began to enter the scene of free improvisation in Madrid and began to forge projects such as Hashigakari (with Tomás Gris, reductionist improvisation) or Nebelmeer (with Marta Sainz, atmospheric and dark electronics).

Since then, he faces his musical activity entirely as an improviser without seeking any stylistic result, covering aesthetics that flow from reductionism to drone environments using various types of electronic elements (sinusoidal waves, noise synthesizers, software ...). He is part of other projects like Nanimo, Opera Im Keller or La Nueva Iglesia.During these years, he has shared stage with artists as diverse as Alfredo Costa Monteiro, Johnny Chang, If Bwana, Antoine Beuger, Rally! (Javier Piñango & Edu Comelles), Pelayo Arrizabalaga, Persona or Guillermo Torres in spaces such as Cruce, Naranjo, Antic Forn de Vallcarca, La Central del Reina Sofía, Medialab Prado, Teatro la Puerta Estrecha or the Creative Fest in Portugal. He is a member of the maDam improvisation group and the Grupo de Resistencia Sonora de Madrid. Coordinates the label Ex-Nihilo with Tomás Gris.nto a Tomás Gris el sello Ex-Nihilo."

-Gruppo Ungido Website (http://gruppoungido.net/david%20area%20e.html)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. ... Of Being Numerous 1:00:35
sample the album:








descriptions, reviews, &c.

The colectivo maDam is a an electroacoustic improvising ensemble who since 2011 have explored free improvisation and related territories, including composition and stage. They have collaborated with Felipe Araya (Chile), Lali Barriere (Esp), Mathieu Bec (Francia), Lucas Bolaño (Esp), Paloma Carrasco (Esp), Alan Courtis (Argentina), Johnny Chang (Alemania), Diatribes (Suiza), Nilo Gallego (Esp), Antonia Funes (Esp), Miguel A. García (Esp), Lauri Hyvärinen (Finlandia), Niña Jonás (Esp), Dr. Kurogo (Esp), Alexander Markvart (Rusia), Eugene Martynec (Canadá), Wade Matthews (Esp), Mattin (Dinamarca/Esp), Marcio Mattos (Brasil/Reino Unido), Miguel Mira (Portugal), Abdul Moimême (Portugal), Seijiro Murayama (Japón), Montserrat Palacios (Esp), Javier Pedreira (Esp), Luz Prado (Esp), Ernesto Rodrigues (Portugal), Marta Sainz (Esp), Minami Saeki (Japón), Taku Sugimoto (Japón), Enrique Zacagnini (Esp), etc.




"one of our most beloved practices was named: "... Of being numerous". We would use every opportunity to come together and perform it, sometimes planned, sometimes spontaneously. We loved it, on the one hand, for practical reasons, as it would involve simply "a" number of players and didn't call for a specific number of participants or a specific instrumentation.

On the other hand, though, we felt, that it touched the core of our existence in the world, of our being someone in the midst of so many more "someones".

None of us is an island, as John Donne would say. Well, somehow, of course, we are islands, or at least we sometimes end up on islands. We love to sit on an island, just by ourselves, musing, daydreaming, happily detached.

But there are so many of us! We are numerous. Too many to know. And we are everywhere, coming and going, passing by, emerging and disappearing again. That is us: Unique someones, occurring in an endless stream, in steady numerosity; someone, just another one; lives hovering between lone and lavish; between and besides; amidst and apart; within and without. Curious, how "numerous" ends with -"us"...

"... Of being numerous" for us opened up a space in which to affirm this tension, this challenge of being (singular and) numerous. In the name of this practice we left the subject of the preposition open to allow numerous possibilities to resonate: The challenge, the joy, the danger, the fragility, the grace, the condition, the difficulty, the meaning, the reality, the roots, the boun- daries, the promise, ..., ..., ... Of being numerous.

Performing "... Of being numerous" we would try to be as detached, as much by ourselves, as possible. We would all be involved in the same kind of things: Playing a "phrase" (some "phrases") with some mostly longish, quiet sounds; articulate a slow, but regular pulse with 2 little stones; reading some words, or syllables or letters from a poem one brought or knew by heart (just to oneself); humming a melody, so quietly, that maybe only oneself would hear it; making a very soft, continuous, spectrally complex frictional sound (paper on paper, stone on stone, paper on wood, finger on skin, ...); moving dry leaves from one bowl to another, trying to make no sounds; etc.; or just being silent, listening inward rather than outward.

This way, we would be both solitary and numerous, connected and free-floating, in a world of pure coincidence, which, to us, meant: Grace."-from: the memories of RN, author and date of origin unknown



This album has been review on our magazine:

The Squid
The Squid's Ear!
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