Label: LAMI

超傑作!!1950年リオデジャネイロ出身、ブラジルで作曲を学んだ後フランスに渡りGRMに参加した孤高のコンポーザーRodolfo Caesar。1979年に残したナイトメア・コンクレートの名盤[A Arte Dos Sons]はCreel Poneが過去にCD-R化していますが、なんとその音源以来となる待望の2ndアルバムを入荷!!円形、螺旋形、円錐形をコンセプトに構築したという1992~1997年までの長編コンクレート4作を収録、[Arte Dos Sons]とは異なり完全硬派且つソリッドなサウンドの集積だけで勝負した凄まじい内容。サンパウロのレーベルLAMIからの出版作品。大推薦。





On the day he was due to perform one of his first recitals as an “electroacoustic composer”, Rodolfo Caesar had to rush to the Brazilian Musicians Association in Rio de Janeiro to get the necessary authorization for the concert. He was relieved to leave the building even if what he had was a non-permit: the organization had neither objections nor demands, since the show “was not about music or musicians”... And that is actually how we feel, to a certain extent, while listening to his work. With an open and deeply abstract mind, he is able to trace the most surprising threads between odd real world objects, his impressions of the sensitive world of arts and nature, of forms in latent state... These are visions and hallucinations that range from silence to an irrevocable de-perception of the musical genders that parade in front of his windows that open to the Santa Teresa hills and exhale carefully blended extracts from Minas Gerais. He gathers it all by probing the universe of sounds, extrapolating their materiality and awakening the listeners’ recognition of the alienation that dominates both the field of “solid” ideas and in the illusion of believing that everyday frustrations are a fruit of chance: a critical and poetic universe unveils itself even behind recognizable sonorities. Still, we can often see him in public places looking for resonances for his ideas; for instance, in an attempt to curb positivist tendencies in the appreciation of contemporary art, he suggested music could be found even in the sound of running water in an installation where a faucet stood out in an empty red room. He also followed this idea with a piece consisting of a moving, though silent, loudspeaker insinuating Isolde’s silent recollection of an imaginary Tristan.

Rodolfo Caesar was born in 1950 in Rio de Janeiro, where he studied at Instituto Villa- Lobos with Marlene Fernandes, Bohumil Med and Reginaldo Carvalho. He pursued his specialization at the Groupe de Recherches Musicales / Conservatoire de Paris, with Pierre Schaeffer and Guy Reibel, becoming their assistant. He later got his PhD with Denis Smalley, in England. He attended classes in a graduate course in Philosophy at the Federal University of Rio de Janeiro. Being one of the founders of the Estúdio da Glória in Rio de Janeiro, he had the opportunity to teach and compose there with the aid of electroacoustic technology. He was also a teacher at the Brazilian Music Conservatory and at the Estácio de Sá University, he produced and performed in radio shows about contemporary music and regularly participates in events in Brazil and abroad. He is currently a professor at the Federal University of Rio
de Janeiro where he coordinates the Music and Technology Laboratory (LAMUT). He also 11 coordinates the website sussurro.musica.ufrj.br, where you can listen to great part of
his works and countless contemporary Brazilian music productions.

His compositions have been well received in contests and rankings in Bourges, Noroit, Keele, Unesco Tribune, and in some of those he received commissions and prizes, such as: Arts Council of Great Britain, Arts Council of England, Institut National de l’Audiovisuel / Groupe de Recherches Musicales, Fundação Vitae and RioArte Scholarship Program. He received the Sérgio Motta Prize in 2004 and an honorable mention in Bourges with his 3 Clips, where he explores the relations between sight and hearing. Interdisciplinary relationships constitute the core both of his artistic creation and his theoretical work.The four pieces in this album were composed between 1992 and 1997.

The three first ones in England, while Rodolfo Caesar was studying for his PhD: Volta Redonda, Revoluções Industriais and A noite em concha. Círculos ceifados (1997), that in a way stems from the same root, was composed in Brazil as a part of a work sponsored by the Vitae Arts Fund (the homonymous book, published in 2008, is from the same project). The common ground among those pieces is the exploration of a structure based on circular, spiral and conic forms. The technical resources vary a lot: Volta Redonda was composed in the studios of the East Anglia University; the other ones were composed in his private studio or in MIDI environment, or with extensive use of an audio card. All pieces were originally conceived thinking of stereo reproduction, as in this album.