Arturo Fuentes

Arturo Fuentes

His musical path has taken the Mexican/Austrian composer Arturo Fuentes (*1975 in Mexico) from Milan to Paris, Innsbruck and Vienna. His catalog, published by LondonHall Editions, includes a hundred works, from solo pieces to orchestral works and operas. Over the course of 25 years, various »exploratory phases« from the complexity of composition to harmonic-spectral form to a microtonal-minimalist sonority have shaped and enriched his style. Composing, he says, is like »getting lost in a labyrinth«; like Paul Klee, he wants to let »the line determine his path« in order to discover a »dramaturgy of sound.« His music, including works with live electronics, is »kaleidoscopic and colorful.« His theoretical research includes music informatics and the philosophical aspects of the act of composition, based on Wittgenstein and the hermeneutic critique of representation. Fuentes also directs his own musical theater, opera, and dance pieces, developing concept, script, and dramaturgy, and designing lighting and set in keeping with the musical idea. He also produces and directs his own videos and short films, establishing a link with his photographic work.

aleph Gitarrenquartett

aleph Gitarrenquartett

Since the founding of the Aleph Gitarrenquartett in 1994, Andrés Hernández Alba, Tillmann Reinbeck, Wolfgang Sehringer and Christian Wernicke have been working intensively with composers, sound engineers and acousticians to advance the musical language and playing techniques of the 20th and 21st centuries for their instrumentation. In the meantime, an extensive, new and forward-looking repertoire for classical guitar has been created, which is constantly being expanded. Many works, among others by Mathias Spahlinger, Nicolaus A. Huber, Bernhard Lang, Beat Furrer, Georg Friedrich Haas, Zeynep Gedizlioglu and Irene Galindo Quero, were written especially for the Aleph Gitarrenquartett. The quartet performs at major festivals of contemporary music and in important European auditoriums, often in collaboration with guests such as Sarah Maria Sun and Daisy Press. Workshops and CD recordings regularly complement the ensemble’s activities.

Poème Maudit

Poème Maudit

Cursed poem​

His genius was his curse, for many this phrase means what it is to be an artist: a creator who is misunderstood by his contemporaries, rejecting established norms, the rules of art and social conventions. So it was for Arthur Rimbaud, a poet of transgressive subjects who influenced modern literature and the arts. Jim Morrison, Patti Smith, Bob Dylan, André Bretton, Henry Miller, Pier Paolo Pasolini and many more were influenced by his poetry. For us, as artists in the composition and the music, it would be pertinent to ask: How much are we transgressors of established aesthetic norms?

Poème maudit is a sound work and a staging as if we were entering a Rimbaud dream, ecstatic by opium and Absinthe, with an expanded time and space such as his Illuminations or A seasson in hell. Young actress Alice Crepaz-Fuentes declaims the poetry of Rimbaud and other cursed poets such as Verlaine, Baudelaire and Trackl; her voice is modified electronically and mixed with the effects of the ALEPH Gitarrenquartett and the members of the Jugend-Gitarrenorchester Baden-Württenberg. Poème maudit (Cursed poem) is a scenographic concert that incorporates the microtonal, the minimalist and the spectral sonorities, and as in other of my scenic works, here we discover the dark psychology of a character, Rimbaud, on a sound journey.
Arturo Fuentes

Arturo Fuentes

His musical path has taken the Mexican/Austrian composer Arturo Fuentes (*1975 in Mexico) from Milan to Paris, Innsbruck and Vienna. His catalog, published by LondonHall Editions, includes a hundred works, from solo pieces to orchestral works and operas. Over the course of 25 years, various »exploratory phases« from the complexity of composition to harmonic-spectral form to a microtonal-minimalist sonority have shaped and enriched his style. Composing, he says, is like »getting lost in a labyrinth«; like Paul Klee, he wants to let »the line determine his path« in order to discover a »dramaturgy of sound.« His music, including works with live electronics, is »kaleidoscopic and colorful.« His theoretical research includes music informatics and the philosophical aspects of the act of composition, based on Wittgenstein and the hermeneutic critique of representation. Fuentes also directs his own musical theater, opera, and dance pieces, developing concept, script, and dramaturgy, and designing lighting and set in keeping with the musical idea. He also produces and directs his own videos and short films, establishing a link with his photographic work.

POÈME MAUDIT

16
05.02.
22:00
Theaterhaus, Sporthalle
Arturo Fuentes composition, direction, lights, electronics
aleph Gitarrenquartett Jugend-Gitarrenorchester Baden-Württemberg Alice Crepaz-Fuentes voice

Arturo Fuentes: Poème Maudit

for a microtonal guitar quartet, guitar ensemble and voice. With poems of Arthur Rimbaud (2021) ᵁᴬ

Poème Maudit is a scenographic concert in which the guitar expands and floats above a labyrinthine sound space, as if it were a figure with a thousand faces. Fuentes values the guitar as an instrument with myriad possibilitiesmicrotonal, agile, resonant, percussive, spectral, rhythmic, harmonic, melodic, and ready to be prepared with objects on its strings and body. This »augmented« guitar is ideal for Fuentes’ exploration of the auditory and scenic possibilities of his compositional language.

 

In Poème Maudit (Cursed Poem), the composer sends »the dark psychology of a character« on a sonic journey, »as if we were entering a dream by Rimbaud, brought to ecstasy by opium and absinthe, with an expanded time and space.«

 

The libretto for the electronically modified voice of a young actress, embedded in the effects of the guitar ensembles, is the poetry of Arthur Rimbaud and other »accursed« poets.