Post by account_disabled on Feb 20, 2024 1:55:11 GMT -5
The Bolivian composer releases Antología I, a double album with five works he performed for the Orquesta Experimental de Instrumentos Nativos, on March in Lima, Peru. Brenda Molina february , (: a.m.) The Bolivian composer Cergio Prudencio. / ALEJANDRO LOAYZA The Bolivian composer Cergio Prudencio. / ALEJANDRO LOAYZA TAGS: COMES BACK SOUND Cergio Prudencio returns to the analog sound with which he was trained The Bolivian composer Cergio Prudencio returns to the analog sound with which he was formed, to the matrix of his artistic beginnings, through 'Antología ', a double vinyl album recorded in Peru that brings together in five pieces the most representative of decades of his musical career. The album, which was recorded by the Peruvian label Buh Records, will be presented in Lima on March At the event there will also be a concert, in which you can appreciate Prudencio's compositions oriented towards singing, piano and guitar in different associations. But this is not the first time that the composer puts his works on vinyl, because when “The City” was recorded, they did it precisely in this format, under the Tacuabé label from Uruguay.
The piece was included in the eighth volume of the Música Nueva Latinoamericana collection, in With a slight change in his expression, Prudencio assures that he Cell Phone Number List loves music recorded on vinyl and recognizes it as a kind of “matrix” in his training. “I love it, it's the analog sound with which I was trained,” he says, while admitting himself surprised by the return of this format as one of the most sought after by music lovers and collectors today. Cergio Prudencio together with the OEIN. / ALEJANDRO LOAYZA Cergio Prudencio together with the OEIN. / ALEJANDRO LOAYZA Q.- What memories does the sound of music on vinyl bring back to you? A.- I experienced that migration, which was traumatic in many ways, because there was a change in texture in the sound. We had to get used to digital sound. And now returning to the analog matrix is wonderful. We thought it was lost forever, but it's coming back. Q.- Tell us about 'Anthologies ' and how you had the opportunity to record this album. A.- There are five works of mine composed for the Experimental Orchestra of Native Instruments.
They needed two albums because some of the works are quite extensive and representative, from different moments of my compositional production for the OEI. My son Ignacio, photographer and visual artist, lived in Lima for many years and there he met Luis Alvarado, producer of Buh Records. One day he discovered that Ignacio was my son. He already knew my work. Then, Luis wrote to me, told me about his project, about his interest in making an album exclusively of my work and we worked on the repertoire to see what works we would play. I was reviewing the recordings we made over many years with the Cantus studio here in La Paz. We identified the best versions and signed a contract with Buh Records to make this happen. Q.- What was the criteria for selecting the works and what are they? A.- Incorporate works that are representative in themselves, due to the route and its significance.
The piece was included in the eighth volume of the Música Nueva Latinoamericana collection, in With a slight change in his expression, Prudencio assures that he Cell Phone Number List loves music recorded on vinyl and recognizes it as a kind of “matrix” in his training. “I love it, it's the analog sound with which I was trained,” he says, while admitting himself surprised by the return of this format as one of the most sought after by music lovers and collectors today. Cergio Prudencio together with the OEIN. / ALEJANDRO LOAYZA Cergio Prudencio together with the OEIN. / ALEJANDRO LOAYZA Q.- What memories does the sound of music on vinyl bring back to you? A.- I experienced that migration, which was traumatic in many ways, because there was a change in texture in the sound. We had to get used to digital sound. And now returning to the analog matrix is wonderful. We thought it was lost forever, but it's coming back. Q.- Tell us about 'Anthologies ' and how you had the opportunity to record this album. A.- There are five works of mine composed for the Experimental Orchestra of Native Instruments.
They needed two albums because some of the works are quite extensive and representative, from different moments of my compositional production for the OEI. My son Ignacio, photographer and visual artist, lived in Lima for many years and there he met Luis Alvarado, producer of Buh Records. One day he discovered that Ignacio was my son. He already knew my work. Then, Luis wrote to me, told me about his project, about his interest in making an album exclusively of my work and we worked on the repertoire to see what works we would play. I was reviewing the recordings we made over many years with the Cantus studio here in La Paz. We identified the best versions and signed a contract with Buh Records to make this happen. Q.- What was the criteria for selecting the works and what are they? A.- Incorporate works that are representative in themselves, due to the route and its significance.