21053-2, 2 CDs, $21.00
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|| César Bolaños
Peruvian Electroacoustic and Experimental Music (1964-1970)
CD 1: Intensidad y Altu¬ra (1964); Interpolaciones (1966) for electric
guitar and tape; Flexum (1969) for woodwind instruments, strings, percussion
and tape; Divertimento I (1966) for clarinet, flute, bass clarinet, trumpet,
clave, piano, double bass and percussion; Divertimento III (1967) for clarinet,
flute, bass clarinet, piano, and percussion instruments; I 10 AIFG/Rbt-1 (1968)
for 3 performers, horn, trombone, electric guitar, 2 percussionists, 2 projectionists
and 9 projectors of slides synchronized by automatic system, and tape
CD 2: Sialoecibi, ESEPCO I (1970) for piano and a recitator-mime-actor; Canción
sin Palabras, ESEPCO II (1970) for piano (2 performers) and tape; Ñacahuasu
(1970) for a small orchestra of 21 instrumentalists and a recitator
César Bolaños is one of the leading artists of the Latin American
avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part
of an astonishing generation of Peruvian composers: Edgar Valcárcel,
Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique
Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National
Conservatory in Lima, and following classes with the Belgian composer Andrés
Sas (who after leaving Europe settles in Peru), he would join the group "Renovación"
(together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them
Bolaños began a series of presentations and edited a music magazine.
He had already composed brief pieces for piano and music for a chamber orchestra.
At that time Bolaños is interested in the work of Stravinsky, Bartók
and Schoenberg. But he's still far from the sound radicalism that he would reach
in the future. In 1957 he traveled to New York City to study composition at
the Manhattan School of Music and electronics at RCA. He met the Argentine composer
Alberto Ginastera, who offered him a scholarship to study at the Latin-American
Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival
in 1963, Bolaños became involved in the design and development of the
electronic music laboratory of the CLAEM. There he composed his first electronic
piece and the first work generated in the above laboratory: "Intensity
and Height" (1964), inspired by a poem of César Vallejo. Bolaños
also composed "Interpolations" (1966) for electric guitar and magnetic tape,
"Spaces I" (1966), "II" (1967), "III" (1968) for magnetic tape, the experimental
audio-visual cantata "Alpha-Omega" (1967), instrumental and mixed pieces like
"Flexum" (1969), "I-10-AIFG/Rbt-1" (1968), and, with a commission from Radio
Bremen (Germany), "Nacahuasu" (1970), inspired by the Che Guevara diaries. Bolaños
also experimented with computers, and composed two pieces with the mathematician
Mauricio Milchberg. "Sialoecibi" (1970): ESEPCO I (computer sound-expressive
structure)* for piano and a recitator-mime-actor (a work that satirizes the
organization language initials from the 1950's) and "Song without words", ESEPCO
II (1970) "Homage to the unpronounced words" for piano (2 performers) and tape.
For the composition of these pieces Bolaños and Milchberg introduce into
the computer parameters to have the machine generate a composition from the
information obtained by the composer's production.
These recordings bring together for the first time a definitive edition of
his work on CD.