An Argentine Inventory: 2 The city

Foto: Teatro Colón

For Choir, percussion, wind-instrument soloist,large scale wind-chime

urban texts, videos an soundscapes.

Music: Martín Liut

Texts:Pablo Katchadjian.

Choreography:Luciana Acuña and Agustina Sario.

Musical Director: Néstor Andrenacci.

Video: Alejo Hoijman Lighting:

Alejandra Martín and Lucrecia Ferraro.

Musicians: Marcelo Moguilevsky, Trío Paralelo 33° and GCC – Grupo de Canto Coral, Néstor Andrenacci, Director.

In the CETC of the Colón Theater. October 18-19-20, 2012.

Work comissioned by CETC, Colon Theater.

The city is a finite space that allows infinite paths
(Olivier Mongin, “The urban condition”)

 Review [La nacion Newsaper Link to the original text in spanish]

Those who went to the CETC did so out of curiosity because, except for some very sparse news and a bit of information from interviews with the creator, nothing was known about this experience. One could only imagine—which turned out to be an advantage because once it began, the only resource on which the audience could rely was the imagination.
The audience enters and walks among a series of visually connected, half-lit halls in which are found instrumentalists positioned like street musicians, wafting voices, groups of people speaking some barely intelligible tongue, city noises, chiming bells (that can mean so many things), commentators, strollers and, on the walls, moving images of an urban landscape. After about twenty minutes, the audience realizes that it is they who are doing the acting, who are observing and who are being observed. They have already actively participated in an action in which their role has been revealed. This is a very different experience from that of a concert, at which those in an audience withdraw into themselves and listen in solitude. Here, such isolation was reduced to zero. No longer passive witnesses, by the time the audience assembled in the central hall to listen to the music of the second part, they most certainly had their sensory consciousness piqued.
This musical part brought to light a notable bank of talent. First, Martín Liut’s direction demonstrated a sure-handed, lucid management of human groups with very distinct roles and without backdrops or decorative apparitions. What’s more, as the composer of an extremely complex score, he has achieved musical results which, though not linear, avoid dispersion, are rigorously manifested and are replete with expressive subtleties and even with pleasant reminiscences for the ear. And he exhibits a clean, independent aesthetic attitude, as well.
The percussion group Paralelo 33° is a trio of unsuspected musical possibilities. In this case (as in other earlier ones), when confronted with scores containing great rhythmic difficulties, they demonstrate an extremely high caliber of articulation, highly attractive timbre and extraordinary tightness. For his part, the winds player Marcelo Moguilevsky is beyond compare. As musicians often say about him, “He can play just everything,” and he does so excellently. It is always a pleasure to listen to this virtuoso. As for the Grupo de Canto Coral and their director Néstor Andrenacci, their extraordinary dynamic capacity comes through no matter how the members are arranged. Here, they surrounded the audience, an arrangement that proved to be more than a mere effect. Their musical product is always at a high level, thanks to the presence of such a top-notch musician as Andrenacci.
It remains to point out the great sense of space that was demonstrated and the intelligent movement achieved by choreographers Luciana Acuña and Agustina Sario. And, especially, the texts by the writer Pablo Katchadjian, always edged with irony and absurdity, yet somehow seeming ever less absurd.

Media (spanish only)

Article  en Página/2

Anticipo en La Nación

Microcrítica musical de Leandro Donozo

Audio excerpts

Entrevistas previas a Liut y Katchadjian (Canal youtube del CETC)



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