Curbelo is a Utah-based composer who defines herself as nomadic. She has lived in the Canary Islands, Madrid, Turkey, San Diego… Resonance Unbound is a program of seven pieces freely inspired by her temporary residencies. Canarian Bayram describes, in superimposition, a traditional Canarian procession (through popular melodies) and a Turkish military march. All in a fine, visually evocative style. Very nice.
Fantasia flamenca is written for flamenco dancer and electronics. If you’re expecting a discharge of foot-tapping and hand-clapping, you’ll be amazed at the relative discretion of said traditional expressions associated with this dance. Through synthetic sound manipulations, the scene evoked looks more like a ghostly choreography where a translucent, ethereal flamenca gently oscillates between a visible incarnation and a tacit, immaterial presence.
Roxanne’nin Dönüsümü is a work inspired by Musique concrète techniques. For a time, Curbelo lived in the constant hubbub of Istanbul, an over-expanded human anthill. She uses the sounds of everyday objects to create a framework that is, on the whole, calmer than one might imagine.
Mikrop, Epulos and L’anello all use the same rigorous abstraction techniques, despite the difference in instrumentation (alto/electronics, prepared double bass and small ensemble, respectively). Classic experimental avant-garde, referring here to micro-organisms (Mikrop, Epulos), elsewhere to the shimmer of a diamond (L’anello).
My favorite piece, a real coup de cœur, is Kara Toprak, for voice and kanun, a traditional instrument played in Turkey. Here, a beautiful blend of contemporary art music and Turkish tradition creates an enchanting, timeless little world. The beauty of the voice (Curbelo herself) and the original writing for the kanun (excellent Sanaz Nakhjavani) make this an evocative gem.
Elizabet Curbelo is a composer to watch. The eclecticism of her writing makes for unpredictable, but always interesting listening.
