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For amplified metal plate is an Andrés Navarro’s project which begins in Logos Foundation (Gent) in 2019, moves to Q-O2 (Brussels) in December 2019 and it was selected for the second edition of Showcase Emerging Sound (STUK, Leuven) in 2020. Its main purpose is to collect elements of the city daily life and to relocate them in “art places”. Daily life appears on stage in the form of sounds which are produced by objects-materials from street or constructions. A metal plate amplified by contact mics, cans, tubes, metal bars, sticks… are some of the elements that at this moment form the set.

What is noise? « Noise pollution results when man does not listen carefully (…) noises are the sound we have learned to ignore » says Murray Schafer. This project pretends to raise awareness of sounds that surround us everyday. At the moment in which this daily life sounds are deployed in a concert hall, they become something where to put our attention. The fact of amplifying the metal plate with contact mics allows us to discover a new range of harmonics that wouldn’t be perceptible without using this kind of amplification. Any action that is taking place on the metal plate can be listened. Sounds that are part of our daily life become the soundkey of a concert place.

20/11 . Andrés Navarro (Messe Divagation, Brussels)

07/10 . Festival Beroert, B-Classic (Tongeren)

24/09 . Andrés Navarro (Roskot, Aalst)

01/09 – 04/09 . coPer_ACCIÓN Festival de percusión (Cartagena, Murcia)

08/07 . Gamelan ensemble avec Dick van der Harst (Les ateliers de la Princesse, Bruxelles)

25/06 . Sejiro Murayama’s ensemble (Un peu, Bruxelles)

09/06 . Extended gray (SMOG, Bruxelles)

21/05 . Trio Andrés Navarro/Giannandrea/Massolini (Un peu, Bruxelles)

03/04 . Quartet Navarro/Giannandrea/massolini/Maulo (Château des Merveilles de Jolimont, Bruxelles)

30/03 . Construction Site #02 (Recyclart, Bruxelles)

26/02 . Ana Simón and Andrés Navarro (La Princesse, Bruxelles)

18/02 . Trio Andrés Navarro/Giannandrea/Massolini (AU KALME, Bruxelles)

21/01 . GRAY [extended] (Chapelle de Boondael, Bruxelles)

2021

19/12 . Andrés Navarro (gr’Ambacht, Mechelen)

14/12 . Andrés Navarro y Ana Simón (Festival Madrid Actual)

22/11 – 26/11 . In Residency with the percussionist Jacob Vanneste (Werkplaats Walter, Brussels)

01/11 – 05/12 . In residency with the choreographer Ehsan Hemat (STUK, Leuven)

28/10 . “Construction Site” (Atoma, Brussels)

12/09 . “Orfeo & Majnum” La Monnaie (Santa Mara da Feira, Portugal)

02/09 – 05/09 . coPer_ACCIÓN (Cartagena, Murcia)

25/06 – 01/07 . In residency “for Amplified Cymbal & Mixer” (Q-O2 , Brussels)

12/05 . “for Amplified Metal Plate” (Showcase Emerging Sound, STUK, Leuven)

2020

24/10 . “nothing for the moment” (Molembike, Brussels)

23/10 . “nothing for the moment” (Le Centre Maritime, Brussels)

16/10 . “nothing for the moment” (Ten Weyngaert, Brussels)

25/09 . “amidst dust and fractures voices” (project(ion) room, Brussels)

14/09 – 04/10 . In Residency “nothing for the moment” (Ten Weyngaert, Brussels)

12/09 . Tictac Art Centre (Brussels)

06/09 . “amidst dust and fractures voices” (Miry Concertzaal, Ghent)

15/08 – 31/08 . In Residency (Ten Weyngaert, Brussels)

27,28,29/07 . coPer_ACCION ed_BULLAS (Murcia)

08,09,10/07 . coPer_ACCION ed_LA.UNION (Murcia)

15/03 . Percussion workshop (EnOcre Asociación, La Unión)

27/02 . Zirktheatre (European Commission, Brussels)

17/02 – 21/02 . In Residency “for Amplified Metal Plate” (MUSICA, Limburg)

15/02 . Presentation “for Amplified Metal Plate” (Q-O2, Brussels)

2019

09/12 – 23/12 . In Residency “for Amplified Metal Plate” (Q-O2, Brussels)

28/11 . Andrés Navarro “La huella de New York 40s & 50s” (Loft113, Murcia)

28/11 . Lecture “La huella de New York 40s & 50s en el repertorio para percusión” (CSM “Manuel Massotti”, Murcia)

27/11 . “Murmuros y Susurros de …..” (Salón de Actos del Ayuntamiento, La Unión)

27/11 . Sound workshop “Murmuros y Susurros de …..” (I.E.S. María Cegarra, La Unión)

21/11 . Music for The Battleship Potemkin (De Koer, Gent)

20/10 . Koor Florilegium (Maria Theresiacollege, Leuven)

05/10 . Stefaan Quix & The Quixtet (Q-O2, Brussels)

04/10 . Stefaan Quix & The Quixtet (S.M.A.K., Gent)

15/09 . Joris Blanckaert’s premiere (City of Ear, Gent)

07/09 . Andrés Navarro (The Manor, Gent)

25/07 . Andrés Navarro (Gentsche Fest Spiele, Gent)

10/07 . Lecture “for Amplified Metal Place”(Àgora Actual Percussió, Valencia)

10/07 . Ensemble Àgora Actual & Friends (Àgora Actual Percusió, Valencia)

29/06 . Andrés Navarro (coPer_ACCIÓN, La Unión)

28,29,30/06 . coPer_ACCIÓN Percussion Festival (La Unión)

12/06 . Ensemble Container #Gal (Auditorio Martín Códax, Vigo)

11/06 . Ensemble Container #Gal (Sala Capitol, Santiago de Compostela)

02/06 . Andrés Navarro (Miry, Gent)

18/05 . Andrés Navarro (Unknown Orbits Gent, Logos Foundation)

18/05 . The Cosmics Union (Unknown Orbits Gent, Logos Foundation)

03/05 . Fritz HauseR & GAME (Miry, Gent)

27/04 . The Cosmics Union (Unknown Orbits Maastricht, El Mandril)

14/03 . Assisitant of Hugo Morales Murgía’s workshop (Koninklijk Conservatorium, The Hague)

Percussion festival co-directed by Andrés Navarro and Emilio Saura. The festival started in June 2019 and it takes place every year in the region of Murcia (Spain). It promotes the heterogeneity and variety of musics by means of percussion instruments.

https://www.coper-accion.es/

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Longs Reverberation Places are several music formats that appear from Andrés’s interest in sound qualities. From 2016 he develops part of his work in long reverberation concert places. First part of this project was focused on marimba concerts in Spanish churches, “Music Through Reflection”. In 2017 Andrés began a theoretical research about time that moved into music by the title of “Do Less”, the premier of this format took place in Sala Verónicas (Murcia, Spain), June 2018.

Do Less

This concert format is based on the relation between space, time and sound. Taking advantage of sound qualities in big buildings, the percussionist Andrés Navarro tries to create a soundscape through the large range of timbres of the percussion instruments. In this performance the audience is surrounded by a choreography of metal sounds (gongs, Tibetan bows, cymbals), woods, water… Based on the premise that each music has to be composed for a specific space, the concert repertoire is formed by pieces composed specially for the occasion, improvisations and other pieces from the Andrés Navarro’s repertoire.

Why “Do Less”

These two words are borrowed from the text “On Laziness and Less Work” by Bojana Kunst. In this text the Slovenian artist is motivating us to do less in order to find the time to heard our inner self. Moving this concept into music, Do Less is a performance which avoids the overloaded music and focuses in the most important characteristic of music, the sound. The main characteristic of the concert is the “absence” of melodies, scales, loud excerpts and rhythms. This absence of elements gives room to develop the sound qualities of the percussion instruments and the sound qualities of the building. In this way the concert hall is turned into a place for observation and meditation. It is why the performance skips the classic format concert which is divided in several pieces and here all the pieces or parts are linked, the concert is offered as an unit which allows the spectator to find his own way during the performance.

Apart of the Slovenian artist Bojan Kunst and other texts about time, this performance is influenced by music concepts of composers such as Morton Feldman, Eric Griswold, John Cage and sound artists such as Alvin Lucier and Murray Schafer.

Music through reflection

In this concert format marimba and reverberation become the main characters. The concert program is formed by a collection of pieces for marimba which have been specially thought for long reverb places. Some of the pieces which have been performed in the last concerts are:

Toccata (2001) . Anna Ignatowicz
Pamplona (1988) . Frank Nuyts
Etude for a Quiet Hall (1982) . Christopher Deane
In A Landscape (1948) . John Cage Chaconne in D minor (1720) . J. S. Bach Toccata

 

O

O also appears as result of the time researches of Andrés Navarro, in particular from the question “How long is taking a painting?”. As musician is very easy to know when a music piece has finished, just we have to wait for the clapping of the audience, then performers and audience know that the piece has finished but, how long is a painting or a sculpture taking? In O the notion of duration of the music pieces is avoided to give room to the idea of éternité. O also put attention in emphasizing the daily agitation by means of submerging the audience in an environment of delicate sounds. In spite of all the sound information in information, the pieces which are played during the performance are as soft as to create a quiet and spiritual atmosphere. Some of the pieces which can be played during O are:

How is “O” made?

By means of recording processes every piece of the concert can stay sounding after having been performed. When the artist finishes playing the first piece, a recording of this piece that has been recorded during the performance starts playing. Then the artist can go to the next instrument and makes the same action. When the last piece has been performed, a scape of delicate sounds is playing around the audience as a kind of sound installation. This sound installation can stay playing for days or weeks until the performer comes back and switches off all the music pieces by means of performing them, a new part of music can be played before starting switching off all the pieces.

“We, The Cosmics, bring from Milkdromeda the absolute utopia, the unifying force that guides humanity towards a free, just and equal world. We face the authoritarian structures, the loss of individual autonomy, the fear of punishment imposed by those with power that manipulate life. No matter how hard the world pushes against us, within us, there is something stronger -something better, pushing right back.It is the strength of Milkomedra, the freedom of spirit, the power of knowledge of those who live in respect towards science and freedom” – A.S. The Cosmics Manifest

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The Cosmics Union is a free-impro band based in Milkdromeda that starts its career in October 2018. The band is formed by Ana Simón (flute & synths), Guy Foret (bass clarinet & guitar) and Andrés Navarro (percussion & electronics). Since its formation they have performed in several terrestrial cities such as Brussels, Gent, Leuven and Maastricht. They curate the experimental music festival Unknown Orbits which have already had two editions, Mandril Cultural and Political Center (Maastricht) and Logos Foundation (Gent). They have realized several recording sessions which have been played in radios such as Radio Roeien Met Riemen and Noviembre Nocturno. In February 2019 in collaboration with the Californian visual artist Alexandra Banhazl they presented his first work “Φ” based in Fibonaci Serie and the creation of the universe. At this moment they are working in a new recording session and planning an European tour 19/20.

https://www.facebook.com/thecosmicsunion/

Gray (2017) . Anne Leilehua Lanzotti, for viola, dance and percussion

Naturale (1985) . Luciano Berio, for viola and percussion

Trio V (2006) . Christian Wolff, for piano four hands and percussion

Lauda for bass clarinet (2007) . Gavin Bryars, for Bass clarinet and drones

Follow thy flight (2004) . Ron Ford, for soprano and vibraphone

Mundus canis (1998) . George Crumb, for guitar and percussion

Gagok (1972) . Isang Yun, for guitar, soprano and percussion

Worker’s Union (1975) . Louis Andriessen, for any number of players

Third Construction (1941) . John Cage, for four percussionists

Grab It! (1999) . Jacob Tv, for saxophone, bass and drums set

Divertimento (1971) . Akira Yuyama, for saxophone and percussion

Bass clarinet and percussion (1981) . Morton Feldman

Fractalia (2011) . Owen Clayton Condon, for four percussionists

Snare Drum

Improvisation for Snare Drum (1987) . John Cage

Exercises 26/27 (1988) . Christian Wolff

Der Provokateur (2001) . Leander Kaiser

Atzucac (2008) . Saúl Gómez Soler

Multipercussion

Forever and Sunsmell (1942) . John Cage, for congas and voice

Percussionist Songs (1999) . Christian Wolff, for multipercussion

Toucher (1973) . Vinko Globokar, for voice and accessories

Psappha (1975) . Iannis Xenakis, for multipercussion

Rebonds B (1988) . Iannis Xenakis , for multipercussion

Switch (1991) . Eric Griswold, for three objects/instruments

El Tumbao (1993) . Ramón Ramos, for multipercussion

XY (1997) . Michael Gordon, for five tuned drums

Tactus (2005) . Polo Vallejo, for multipercussion

Vibraphone

Dream (1948) . John Cage

Cálculo Secreto (1995) . José Manuel López López

Verses for Vibraphone (1997) . Barbara Monk Feldman

Marimba

In A Landscape (1948) . John Cage

Time for Marimba (1969) . Minoru Miki

Etude for a Quiet Hall (1982) . Christopher Deane

La Pamplona (1988) . Frank Nuyts

Verso III (1994) . David del Puerto

Toccata (2001) . Anna Ignatowicz

With electronics

Silence must be (2002). Thierry de Mey, for conductor and tape

Enclosure (2008) . Hugo Morales, for cajón and electronics

for Amplified Metal Plate (2019) . Andrés Navarro

untitled song (2020) . Andrés Navarro, for electroacoustic guitar and voice

for Amplified Cymbal & Mixer (2021) . Andrés Navarro

Others

Having Never Written a Note for Percussion (1971) . James Tenney, for tam-tam

Ricochet Lady (2016) . Alvin Lucier, for glockenspiel

Opera with Objects (1997) . Alvin Lucier

Still and Moving Paper (2014) . Vanessa Tomlinson . for solo percussionist playing paper, pencils and footboys

Ko-Tha (3 dances of Shiva) (1967) . Giacinto Scelsi . for lute (original for guitar)

fo Amplified Cymbal & Mixer (Q-O2, Brussels)

for Amplified metal plate & Objects (Q-O2, Brussels)

Unkown Orbits Festival (Logos, Gent)

coPer_ACCIÓN (La Unión, Spain)

en Ocre (La Unión, Spain)

Do Less (Murcia, Spain)