Curiyú/Carillón-Unísonos imposibles
Curiyú/Carillón
A collaboration between sculptor Micaela Perera and composer Osvaldo Budón, Curiyú/Carillón is a large sound sculpture, created by assembly of thin metal rods of different sizes and lengths. The metal rods are mounted on metal tubes of various diameters and lenghts, and metal barrels. These act as resonators.
There are 24 modules in all, adding up to a total of approx, 30 meters. Although modules are to be arranged in a pre-established secuence, the overall distribution in space cantake different shapes. It is an object of a hybrid nature, as it is at once spatial construction, sculpture, musical instrument, composition and score.
In the design and realization of Curiyú/Carillón there was a creative dialogue between sound and space
(and between a composer and a sculptor). Relationships where sometimes formulated in the realm of
time and later transposed to space. Thus, a rhythm composed according to certain musical criteria
would later be “written” onto space as distances between metal rods, generating spatial relationships or
spatial rhythm. On the other hand, the dimensions of the metal rods, decided according to visual
criteria, had a direct impact on the resulting sounding pitches, generating a wealth of complex
collections.
The sound sculpture Curiyú/Carillón can be performed in various ways. Here are some possibilities:
a-Any person can perform it just by walking along the sculpture at a steady pace, while bouncing a
mallet, stick, or similar device against the metal rods.
b-A slightly more “professional” performance would involve a group of musicians who perform in the
manner described in “a”, but coordinating their actions according to a pre-established plan.
c-A most interesting version would combine “b” with the organized intervention of improvising
musicians.
d-Finally, the sculpture can also be used freely, in whole or in part, as a percussion instrument.
Unísonos imposibles
Unísonos imposibles (2012) for Variable instrumental/vocal ensemble and Sound Sculpture,
is a composition of mine that explores the potential of the situation described in “c”.
Unísonos imposibles was first performed on November 26, 2012, at Museo Torres-García, Montevideo.
Performers included Proyecto Aves Errantes, EUM Students and Guest Musicians.
A collaboration between sculptor Micaela Perera and composer Osvaldo Budón, Curiyú/Carillón is a large sound sculpture, created by assembly of thin metal rods of different sizes and lengths. The metal rods are mounted on metal tubes of various diameters and lenghts, and metal barrels. These act as resonators.
There are 24 modules in all, adding up to a total of approx, 30 meters. Although modules are to be arranged in a pre-established secuence, the overall distribution in space cantake different shapes. It is an object of a hybrid nature, as it is at once spatial construction, sculpture, musical instrument, composition and score.
In the design and realization of Curiyú/Carillón there was a creative dialogue between sound and space
(and between a composer and a sculptor). Relationships where sometimes formulated in the realm of
time and later transposed to space. Thus, a rhythm composed according to certain musical criteria
would later be “written” onto space as distances between metal rods, generating spatial relationships or
spatial rhythm. On the other hand, the dimensions of the metal rods, decided according to visual
criteria, had a direct impact on the resulting sounding pitches, generating a wealth of complex
collections.
The sound sculpture Curiyú/Carillón can be performed in various ways. Here are some possibilities:
a-Any person can perform it just by walking along the sculpture at a steady pace, while bouncing a
mallet, stick, or similar device against the metal rods.
b-A slightly more “professional” performance would involve a group of musicians who perform in the
manner described in “a”, but coordinating their actions according to a pre-established plan.
c-A most interesting version would combine “b” with the organized intervention of improvising
musicians.
d-Finally, the sculpture can also be used freely, in whole or in part, as a percussion instrument.
Unísonos imposibles
Unísonos imposibles (2012) for Variable instrumental/vocal ensemble and Sound Sculpture,
is a composition of mine that explores the potential of the situation described in “c”.
Unísonos imposibles was first performed on November 26, 2012, at Museo Torres-García, Montevideo.
Performers included Proyecto Aves Errantes, EUM Students and Guest Musicians.
