“A staggering wealth of ideas drawn with a fineliner. There is always a fine balance between clarity and secrecy. Rodríguez Valenzuela’s music is great art.”
Enno Poppe
Hideouts alerts us to a potential risk in attempting to understand the music of Manuel Rodríguez Valenzuela: that of mistaking his methodology for his thinking. Given his remarkable imagination, it is sometimes easy to focus on the most obvious aspects of his music (invented objects, ingeniously prepared and amplified instruments, or an imaginative manipulation of sound) and to pass over the fact that all of this is inspired by a unique, intimate manner of thinking. Listening to Hideouts is an excellent way to go deeper into the work of this composer, since his most important features –idealism in the smallest detail, and the value he gives to the concept of listening as evidenced in quotations, cultural intrusion, intertextuality and reflection upon the context– can be appreciated in pieces employing seemingly different methods.
credits
released October 28, 2020
Composed by
Manuel Rodríguez Valenzuela
"64 daily self-portraits" performed by
Ensemble Mosaik
Chatschatur Kanajan, violin | Karen Lorenz, viola | Niklas Seidl, cello | Ernst Surberg, piano
"Toccata à l’acte" and "Ungebetenes Spiel" performed by
Lluïsa Espigolé, piano and harpischord
Recorded by
Santi Barguñó, Hugo Romano Guimarães
Executive Production
Mireia Pacareu
Produced by
Santi Barguñó
Recorded at
Auditorio de Zaragoza, Spain
Sampler of Ungebetenes Spiel
Beethoven’s Bagatelle Op.119 XI in B flat, Andante ma non troppo.
Recorded for HMV by Arthur Schnabel.
1933/34 at Abbey Road Studio 3, London.
Digitalized and kindly provided by Andrew Rose, Pristine Classical.
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