ZAMAN
Zaman is a duo of percussion and dance with Ilaria Orlandini. It is a call to lightness and simplicity, to try to act without pretense or calculation, to touch childhood. Together, Ilaria and Andrés explore their individual authenticities and the infinite number of relationships that ensue.
Zaman, in Turkish Temps, is a duet of dance and percussion. Movement and sound are composed instantaneously.
Two independent entities coexist, without looking at each other, they meet in the action of time.
A simple communication between dance and music. How to hear the dance, how to see the music ?
A dynamic of the instant, which leaves room for the appearance of memories in dialogue with what will be the future gesture.
Ilaria Orlandini and Andrés Navarro García live in Brussels. They are interested in contemporary artistic creation and work on the borderline between instantaneous composition and choreographic composition.
for Amplified Metal Plate
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.
17/12 . Johannes Eimermacher & Andrés Navarro García, Impakt (Köln)
12/12 . Rubén Martínez Orio & Andrés Navarro García, SMOG (Brussels)
29/11 . Philarmonia Amsterdam, Urbanuskerk (Amsterdam)
19/11 . Pierre Borel, Quentin Stokart & Andrés Navarro García, OMFI – Chapelle du Grand Hospice, (Brussels)
08/11 . improv & sketch for humanity #2, Werkplaats Walter (Brussels)
07/11 . “Le Timbre des Objets” with Clara Levy (violon), Ben Bertrand (bass clarinet) & Andrés Navarro García, MIM Musée des Instruments Musique (Brussels) *private event
02/11 . Florence Cats & Andrés Navarro García, LAYERS (Brussels)
20/10 . Michele Giovannini (electroacoustic guitar) & Andrés Navarro García, Recue (Brussels)
14/10 . Florence Cats (theremin) & Andrés Navarro García, Cobra Jaune (Brussels)
19, 20 & 21/09 . ZAMAN, Isolazione (Isola del Giglio, Italy)
14/09 . Mattia Massolini, Marcello Giannandrea & Andrés Navarro García, Artist Commons (Brussels)
14/08 . Lorena Izquierdo (action poetry), Ilaria Orlandini (movement) & Andrés Navarro García (percussion), PAS (Berlin)
05, 06 & 07/08 . Gamelan workshop with Dick van der Harst, Theatre Aan Zee (Oostende)
05 & 06/08 . Gamelan ensemble with Dick van der Harst, Theatre Aan Zee (Oostende)
26/07 . Lorena Izquierdo (action poetry), Ilaria Orlandini (movement) & Andrés Navarro García (percussion), Asociación Cultural Ciudad de La Unión (Spain)
21/07 – 25/07 . In residency with Lorena Izquierdo (action poetry) & Ilaria Orlandini (movement), Centro Párraga (Murcia, Spain)
03 & 04/07 . Psycho Jazz Festival, Museum Dr. Guislan (Gent)
29/06 . Just, Travers Emotion (Sart-Risbart)
21/06 . ZAMAN, ZK House benefit party (Brussels)
30/05 . Marinella Turco & Andrés Navarro García, SOUND Chef #04 (Brussels)
25/05 . Ukko Muka & Andrés Navarro García, Les Ateliers Claus (Brussels)
05/05 . With TËRÏDÖ Collectif, Gólya (Budapest)
03/05 . ZAMAN, K77 (Berlin)
28/04 . Lorena Izquierdo (action poetry), Ilaria Orlandini (movement & voice) & Andrés Navarro García, PAS (Berlin)
03/04 . ZAMAN, Rataplan (Antwerp, Belgium)
25/03 . Presentation of MONTAGNE’s video clips , aldarrax_ed (Blanca, Spain)
14/03 . “Nosferatu” with Baudoin de Jaer and Geoffrey François, L’entrela’ (Brussels)
03/03 – 25/03 . In residency “MONTAGNES”, AADK (Blanca, Spain)
02/03 . “Arratra” with Lorena Izquierdo, Ilaria Orlandini, Roger Fähndrich, New Polyphonies (Brussels)
26/02 – 28/02 . In residency “Just”, Centre Culturel de Jodoigne
03/02 – 07/02 . In residency “mantra 50Hz”, Les Ateliers Claus (Brussels)
01/02 . SKEW Collective . Haekem (Brussels)
20/01 – 24/01 . In residency ZAMAN, La Raffinere – Charleroi Danse (Brussels)
coPer_ACCIÓN
Percussion festival co-directed by Andrés Navarro García, Alejandro solano García and Emilio Saura Jiménez. 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.
It is a reluctant to think that music is something that can be divided on the basis of styles, a reaction of its founders to the division and discrimination between artistic styles, and therefore between artists. Thus arises coPer_ACTION, a medium in the form of a festival where to welcome the different genres of music and give them the opportunity to coexist and associate with each other.
All kinds of artists have passed through the festival, or almost. Its directors never cease to surprise the public with each new edition, offering them the opportunity to discover new instruments and music by the hand of their guests.
Long Reverberation Places
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:
Enclosures (2008) . Hugo Morales, for cajón and electronics
Silence must be (2002) . Thierry de Mey, , for conductor and tape
Spill . Eric Griswold (2007), for rice bowl and utensils
Roar (2002) . John Luther Adamas, for tam tam and electronics
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.
The Cosmics Union
“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
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.
L’art bruit (1995) . Mauricio Kagel, for two percussionists
Gray (2017) . Anne Leilehua Lanzotti, for viola, dance and percussion
Two Stones (2008/9) . Michael Pisaro, for 2, 3 or 4 percussionists
Pas de cinq (1965) . Mauricio Kagel, for 5 actors or 5 percussionists
Naturale (1985) . Luciano Berio, for viola and percussion
Trio V (2006) . Christian Wolff, for piano four hands and percussion
Rrrrrrr… (1981 – 1982), for 2 percussionists
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 4 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 4 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 multipercussion 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
Ambience (1989) . Mario Garuti
Dream (1948) . John Cage
Cálculo Secreto (1995) . José Manuel López López
Verses for Vibraphone (1997) . Barbara Monk Feldman
Monodrame IV (2002) . Yoshihisa Taira
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
Two Stones (2008/9) . Michael Pisaro-Liu, for stones and pink noise
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 any instrument
Rolling Meditation (1989) . Pauline Oliveros, for any instrument
Ricochet Lady (2016) . Alvin Lucier, for glockenspiel
Opera with Objects (1997) . Alvin Lucier
Still and Moving Paper (2014) . Vanessa Tomlinson , for paper, pencils and footboys
Ko-Tha (3 dances of Shiva) (1967) . Giacinto Scelsi , for guitar
