Label: Buh Records

廃盤、ラストストックを漸く入荷!!2022年末に出版された重要電子音楽物件!!コロンビアの前衛及び電子音楽のパイオニアとして知られ、音楽の分野だけでなく学際的な活動も展開した女性コンポーザーJacqueline Nova。40歳という若さで他界、残した音源はコンピレーション提供作数種という寡作な作曲家で、本作はペルーの発掘レーベルBuh Recordsが手掛けた初の単独名義アーカイヴ。自国の先住民族の声ネタをグワんグワんに加工したナイトメア・コンクレート、ピアノ内部を使った背筋も凍る激シリアスな爆裂ノイズの放射、1964年から1974年までの10年分の貴重且つ最高にクールな録音を網羅した決定版。ブックレット付きの2枚組仕様にて300部限定。







Double vinyl edition, limited to 300 copies. Includes a booklet with extensive information written by Ana María Romano G in spanish and english.

CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974) (2LP/DL)

Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album CREACIÓN DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) [CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)]¸ under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova’s most important electroacoustic works: Creación de la tierra [Creation of the Earth] (1972), Oposición-Fusión [Opposition-Fusion] (1968) and Resonancias 1 [Resonances 1] (1968-69), as well as the music for the film Camilo el cura guerrillero [Camilo the Guerrilla Priest] (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works Omaggio a Catullus (1972-1974), Transiciones [Transitions] (1964-1965), and Asuimetrías [Asymmetries] (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media.

The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: “Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence —close to 15 years— in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment”.

CREACIÓN DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) [CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)] is published through Buh Records, on all digital platforms and in a double vinyl edition, limited to 300 copies. The album includes a booklet with extensive information written by Ana María Romano G. This publication was possible thanks to the Ibermúsicas fund.