Oscar Edelstein (born 12 June 1953) is a contemporary composer from Argentina. Known for creativity and inventiveness, frequently he is described as leading Latin America's avant-garde. He is also a pianist, conductor, and researcher.
Edelstein was born in La Paz, Argentina in the province of Entre Ríos. He spent his childhood in Paraná, Entre Rios's capital, a city known for its river Paraná, South America's second-longest river, and its name is drawn from the Tupi language, meaning "like the sea" due to its width. Entre Rios is literally the province "between rivers" (entre = "inter") and for a short time it was an independent republic – a spirit it has maintained to this day and that has influenced Edelstein.
Edelstein is from a family of musicians but his father, a road engineer, inspired him also with a love of machines and technology. He triggered Edelstein's desire to compose by a birthday present at the age of five of a Geloso portable tape recorder. It was his first instrument and tool for composition before the piano.
His early interest in creating music was not easy for many of his schoolteachers to understand. To them, all the important composers were dead, therefore it was up to Edelstein to prove that this was not true. Discovering information about living composers while living in a small province was not straightforward and required Edelstein's insatiable curiosity and persistent questioning. He was fortunate to have the imagination and open-mindedness of many of his family and teachers who brought some of the answers he needed. One piano teacher, Eva Taubas, was significant for allowing him at seven to "improvise Beethoven" in his lessons, in a sense showing him it was possible, as Edelstein puts it, "to destroy Beethoven" and construct something new.
Piano – Bed or Ship?
At twelve, his aunt, the well-known Argentine pianist Sara Zimerman, played him a Vladimir Horowitz recording, hoping to encourage him to be a classic concert pianist but in fact she gave Edelstein the big argument he needed to define his future. He remembers saying, "He has said all that you can say in this language so let me try something different."
He had a special relationship with the piano and his desire was to be another kind of player, seeing that the piano could either be a bed or a ship.
Speaking with God
One music theory teacher from Paraná would take Edelstein with him to Santa Fe Conservatoire, at the age of eleven, to try to begin his study of harmony and counterpoint as an unofficial student. The teacher told his mother, "Oscar is unusually gifted but he really needs to be better at following the rules." His mother looked at Oscar in agreement, however when the teacher continued with advice about how the young Edelstein would also need to follow the rules more strictly in order to make his own musical experience, his mother looked at the teacher and said, "You are the professor, but he is the music." This kind of environment gave Edelstein the conviction that he could be the creative source, something he still respects to this day whenever he teaches.
Edelstein was also encouraged by a provocative "anarchist" uncle who told him, "You can believe in God if you want, but look at the priests and the rabbis, look at their faces and tell me, if God existed and was intelligent would he really need to choose this face to speak to you?" Edelstein took the underlying message of all these experiences to mean that he could be the source of the music, and therefore in his searches to become a composer he needed to link directly to composers, authors and artists. With this in mind he began his lifetime search for originality that fuelled years of intense private study.
El Rio, Juan L. Ortiz and interference
Sitting by the river listening to a Motorola Transoceanic Radio, as a young boy, he continued to seek out "living composers." There was Argentina's national radio station broadcasting concerts from Teatro Colón far away in Buenos Aires, stations from the BBC World Service, from Japan, and all over the world; and when asked by students, at a master class in London and in Birmingham in 2007, how a person from such a small town could become interested in contemporary music, he told a story that he has often told, describing how sitting listening to the radio in a car at night, with the rain, and a storm, and the sound of the river, he never quite knew what was the music and what was the interference.
Still asking difficult questions that were difficult to answer, Edelstein discovered Juan Laurentino Ortiz, Argentina's poet most highly respected by other writers, artists and musicians who spent the last years of his life in Paraná. Juan L. Ortiz was to profoundly influence Edelstein, and through many hours sat by the river talking, became a mentor and guide, for it was only he that had the connection to a world of literature, music and culture that could begin to answer Edelstein's intense curiosity. Many intellectuals, young people and important cultures figures came to visit Ortiz, so when he discovered news of Stockhausen he shared it with Edelstein, as well as introducing him to other great works of culture. At thirteen Edelstein went with Ortiz and some other boys on the long trip to Buenos Aires, taking the boat that crossed the river Paraná before the tunnel was built, to Teatro San Martin to see a work of John Cage and Merce Cunningham. Both the experience and the memory of it are like an extraordinary dream where Edelstein remembers dancers with mirrors, intense conversation with Ortiz, and the cultural thrill of being in Buenos Aires for the first time. Edelstein says that the sensation of being in the house of Ortiz was like being in another river, with incredible labyrinthic connections to the whole world through time and space. It was as if Ortiz had tunnels across the world, including to Mao Zedong and Chu En-Lai in Peking − who Ortiz visited in 1957 − and to authors like Jorge Luis Borges, Macedonio Fernandez, and Juan Jose Saer who all visited Ortiz in Paraná.[1]
Buenos Aires: The Paradox
In 1972 it was with Ortiz' influence that Edelstein made the step of moving to the capital to study. He arrived in Buenos Aires with a recommendation from Ortiz to study with Juan Carlos Paz but Paz died days before he arrived (a story that Edelstein pays tribute to in his work "El Hecho"[2]) . Edelstein stayed in Buenos Aires and it was paradoxically only many years later in 1979, that he connected with Francisco Kröpfl, considered the best disciple of Paz. With him he finally completed his study of composition by being given the most important tool – the mastery and control of pitch. This completed Edelstein's appreciation of the universe of Arnold Schoenberg and the Second Vienna School − a world which Paz had introduced to Spanish speaking countries.
His other teachers, before Kröpfl, were the prominent Argentine composers from a different aesthetic and school, Mariano Etkin and José Maranzano. Later during the most turbulent years of the period of Argentina's "Dirty War" (1976–78), Edelstein left the country and spent nearly three years traveling and studying. His travels included two years in France, staying near Paris and also going to the Abbaye de Solesmes, visiting libraries, museums and monasteries to understand more about medieval music.
Career: revisioning and creating from nothing
Creating centres, reviews and ensembles
Edelstein's career as a composer has been characterised by breaking new ground. He directs many chamber groups of improvisation in music, frequently exploring the interplay between music and theatre, and has attained several national and international awards for his chamber and electronic productions. He is known for his technical mastery of composition, his original methods of composition and direction of improvisation, and his librettos. As a young leading Argentine composer, he was left with a strong impression from many of the principal composers that he met, such as Pierre Boulez, Mauricio Kagel, György Ligeti, Krzysztof Penderecki, Mario Davidovsky, and John Chowning. He has also helped to introduce many composers from around the world to Argentina, including Francisco Guerrero from Spain (1951–1997). However it was with Luigi Nono, who visited Buenos Aires in 1985, that there was a special and shared sense of understanding.
Centro de Investigación Musical
Between 1974 and 1977, Edelstein was a scholarship holder at the Centro de Investigaciones en Ciencia, Material, Arte y Tecnología (C.I.C.M.A.T – the former Instituto Di Tella), and between 1985 and 1986 he was one of the three young musicians selected to work at the Laboratorio de Investigación y Producción Musical (L.I.P.M.) It was here that he composed one of the works for which he is most known, Viril Occidente I. Another project of Edelstein's in L.I.P.M. was Estudio y Aplicación de los medios digitales en la Composición Musical (1989–1991), supported by a scholarship of the Fundación Antorchas, and used by Edelstein to compose Viril Occidente II (the overture to El Telescopio).
Edelstein also held a scholarship in Science and Technology from the University of Buenos Aires (UBA) to work on several different projects related to music analysis and production with computers at the Centro de Investigación Musical (CIM-UBA), in the University of Buenos Aires. This centre was founded and directed by Edelstein, from 1985 to 1992, working with a team of professors; Pablo Di Liscia, Daniel Montes, Horacio Gutman, and Pablo Cetta. The CIM was a pioneer in the field of artificial intelligence as applied to music analysis, and the projects they developed were the first to be formally registered in Argentina.
Nueva Música, Otras Música, Antorchas' & Lulú
Edelstein was also a member of Nueva Música, the group of composers and teachers founded by Paz and continued by Kröpfl, until four years later in 1984, when Edelstein decided to create a new group with eleven composers of his generation, all from different schools and aesthetics, called Otras Músicas. As an association of composers, Otras Músicas was dedicated to the diffusion of contemporary music in the continent.
In 1991, he continued his efforts to develop Argentina's infrastructure for disseminating ideas and theories of contemporary music in Argentina, by co-founding and editing a specialist music magazine, Lulú: Revista de Teorías y Técnicas Musicales with Carla Fonseca and Federico Monjeau. It was the first journal in Latin America to be dedicated to the contemporary arts and in the editorial committee were Argentina's most important composers, musicologists, painters and writers.
In 1992 Edelstein was the youngest artist to win Argentina's prestigious award of the Antorchas'Scholarship for Outstanding Artists of the Intermediate Generation which he used to compose his opera El Telescopio.[3]
Music for Theatre
Throughout his career he has had close links with theatre, and is famous for his collaborations with the renowned Argentine theatre director, Roberto Villanueva, working with him on over twenty productions[4] in the major theatres of Buenos Aires. Several directors in Brazil like Ge Orthof, Hugo Rodas, Fernando Villar, Silvia Davini and many others, have both staged and re-staged works of acoustic theatre by Edelstein. Edelstein has also made many works that have been used in dance, and is noted for his collaborations with the choreographer and director, Silvia Pritz.[5]
Teaching
Edelstein is senior professor and co-founder of the degree in Music Composition in Acoustic and Electro Acoustics, at the University of Quilmes (outside Buenos Aires, see Quilmes). It is a course prominent both in Argentina and throughout the continent. As well as teaching composition for acoustic and electro-acoustic music. The course has over 500 students and many of his alumni have continued as musicians and composers in avant-garde contemporary music, and also in jazz, popular and folk music, as well as holding positions in universities around the world. Having always chosen to be an Argentine composer living in Argentina, it was only in 2007 that he made the step of introducing his work outside Latin America, by making a research trip to give concerts and master-classes in the UK.
Approaches to Style: Metaphysical Musical Experiences
Velorio del Angelito
Edelstein quotes two key metaphysical musical experiences that influence his style the most; the first was at the age of six at the funeral of a child – called by the people of the province, a "velorio del angelito" (funeral of a little angel)[6] because, they say, when a child dies that God must have made a mistake – giving an angel to the earth which he needs to take back. Listening to this ritual at the border between the provinces of Entre Rios and Corrientes, with the different kinds of groups all playing at the same time, and the Argentine rhythms of chamamé, polka, vals criollo, cumbia, chacarera, milonga and many others, mixing together, and added to by the "lloronas" hired to cry, was like a strange nightmare or a fantastic carnival that he always returns to in his compositions trying to revisit and rewrite.[7]
The second experience was at the age of around fourteen, when he first heard Stockhausen. Edelstein says, "All my life I have been trying to cover this kind of distance."[8] In an interview he noted, "This kind of contradiction between the tragedy, the fiesta and the glory is the representation of the essential spirit of Argentina's story, also epitomized by our national heroes like, Eva Peron, Che Guevara, Carlos Gardel, and Diego Maradona."
What is different in Edelstein is his strong opposition to some nationalist academic folcloristas from Argentina, and also for some pseudo popular-folkloric musicians (who as he has pointed out only can understand these experiences in the European style – like tourists in their own land - and they make "folclore a la húngara" (Hungarian mode)).[9] They look at Argentine popular folkloric music like someone looking at something through a window, or as Edelstein frequently says, "Like someone with a hooped-skirt in their brain." In his experience of the "velorio del angelito" he heard and absorbed the whole experience in all its emotional intensity – "I am a popular musician who has studied" – something which now gives him the ability to create space and textures in his complex musical language whilst retaining a strong connection with the impulse and imagination of the popular. In this way he contributes to the increase of the stature and imagination of Argentine music, but more in the line of Heitor Villa-Lobos (Brazil) where he says that "the folkloric is me" – just as Borges "enhanced" the story of the orilleros and gauchos.
Alongside these experiences the effect of a childhood spent close to a powerful river, in the province "between rivers," can also be said to have had a profound influence on his music, especially as Ortiz guided him to begin his study of art by first studying nature, including giving him Maurice Maeterlinck's books about bees and spiders.
"Composition in the Act"
His album in 2006 Dos Improntuswith renowned accordionist, Raúl Barboza, was a meeting of different musical worlds.[10] Edelstein's intention was that through playing together in a process of composition in the moment (rather than formally writing) he would create a new kind of synthesis of the Argentine experience and history of music. The disc has caused much discussion and is influencing musical culture in Argentina and Latin America, including becoming sited in various research works.
Other examples of Edelstein's kind of essential synthesis (but in these cases fully scored) are Tangos Cientificos [Scientific Tangos], Viril Occidente II, Klange Urutaú and La Teoría Sagrada del Espacio Acústico – Libro I with the ENS, O Tiempo, La Condena and Alma's Waltz. Alma's Waltz, written for his daughter, was composed to sound simple but is in actuality incredibly difficult to play − the idea being that only the man who could succeed in playing it could ask for his daughter's hand in marriage. The waltz has attained such popularity that many people do not know its author and believe that it is an anonymous traditional folk waltz - a fact that Edelstein greatly enjoys.
Argentina & Andrómeda
Edelstein Photo by Daniel Karp
Edelstein is informed by the tradition of the Argentine intellectual avant-garde and as such many comparisons have been made to musicians, like Charles Ives, Karlheinz Stockhausen, Edgard Varèse[11] and John Cage, but also to more popular or rock musicians like Hermeto Pascoal, Frank Zappa, and King Crimson.[12] Edelstein says, "Critics and specialists sometimes make comparisons in order to try to explain me to others who don't know my work. I really appreciate their intent because we always understand in our own dimension. I know that I am not so "important" or popular but I am sure that I am totally new."
Comparisons to Cage[13] are often made because of his multi-disciplinary universe and his cutting edge ideas, however his music in contrast to Cage's can be described as Maximilist.
Edelstein is seen as emerging from three sources; the tradition of the contemporary music of Argentina, in the line of composers who he very much appreciates, such as Juan Carlos Paz, Francisco Kröpfl, Carmelo Saitta, Gerardo Gandini, Mariano Etkin and many others; the popular musicians like Isaco Abitbol, Raúl Barboza, Remo Pignoni, Dino Saluzzi and Cuchi Leguizamón, to name but a few that he listened to whilst growing up; and equally to the colleagues and the composers of his generation that contributed to making the group Otras Musicas, including Pablo Di Liscia, Gustavo Mirabile and Daniel Montes. However, now like Arnold Schönberg, Edelstein says, he learns most from his students, and the ENS (Ensamble Nacional del Sur) is an example of this.
Students have asked Edelstein that if Stockhausen receives his influences from andrómeda, what radiation does he receive; he always replies with a smile, "Well, I am andrómeda!"
The scope of his artistic visions, which include a new system of composition, design of instruments, theory, notation and theatre, could be compared to a Wagnerian's ideal, but Edelstein insists that he is more Argentine and Latin American – in other words more innocent, imaginative, ironic and hopefully little less ridiculous. He says enigmatically, "In the classic Woody Allen joke when you hear Wagner you want to invade Poland, I hope when you hear my music you want to do the hippo-campo dance." He goes on to say that it is hard for a European or for an Argentine formed in the classic European tradition of music to understand that life in the little province is spent between racing cars, poetry, music, horses, football and women.
New Techniques: Methods in Notation, Composition & Improvisation − Conducting as an Element of Composition
Research − Teatro Acústico / Acoustic Theatre
Oscar Edelstein's Acoustic Grid
Edelstein is currently, Senior professor, Head of Composition (Acoustic and Electro Acoustic), and Director of a research programme at the University of Quilmes, in 2006 his research programme into new musical theories and acoustic techniques, the Programa de investigación Teatro Acústico, won another landmark victory – it received funding from the Agencia de Promocion Científica y Tecnologica (a government agency that depends from the Argentinian Ministerio de Ciencia, Tecnología e Innovación Productiva,[14] - the first time that a project in the arts has been awarded science funding and thus it was a major breakthrough for Edelstein's research group. Working with a team of mathematicians, physicists, engineers, composers and musicians, Edelstein is developing his original ideas for new materials, techniques and approaches in spatial acoustics for theatre. His ideas of Acoustic Theatre include; a new system of control and notation of the acoustic space (The Acoustic Grid); entirely acoustic (non-electronic) techniques for a new system of composition; the creation a new kind of acoustic instrument (acousmonium); and the acoustic design of a new theatre. Edelstein's team are utilizing new materials based in the principal of sonic crystals to modulate the architecture of the acoustic space so as to add a new real-time parameter of control in a musical performance. Their researches will make the space itself an instrument for the contemporary composer. The register of this work made in collaboration with the physicist, Manuel Eguía, has been produced in the University of Quilmes, Argentina, and the first international publication is in Germany in 2007.[15]
Edelstein has been invited to many important institutions to give masterclasses and lectures based on his theories of composition and concept of "Acoustic Theatre", namely in Manhattan School of Music, and Columbia University (USA); Royal College of Music, Guildhall School of Music, University of Central England, Royal Northern College of Music and Drama, and the University of Wales – Aberystwyth (UK); and the University of Music and Performing Arts (Vienna) amongst others.
Ensamble Nacional del Sur
His electro acoustic group, the Ensamble Nacional del Sur (ENS for short) are hugely popular, critically acclaimed as revolutionary, achieving a cult following in both Brazil and Argentina, and seen by Edelstein as a new instrument of composition. Created by Edelstein in 1997, as a working group of research, creation and independent music production, they were conceived as a musical lab composed of musicians, composers, artists and technicians. Edelstein works with systems of traditional notation combined with new and 3-dimensional models that he created. He conducts the group with his specially developed system of hand signals so that he can not only designate time and intensity but also timbrical and spatial options. The members of the ENS are composers as well as musicians and thus could effectively respond to these directions. They have played in a number of Edelstein's acoustic theatre works, including the first part of the trilogy La Teoría Sagrada del Espacio Acoustico – Libro I (2000–2001); Klange, Klange, Urutau (1997) − described by Clarín's music critic Federico Monjeau as "an hour of music without interruptions, and without a moment of weakness";[16] and El Hecho (1998) which Monjeau called "a profound theatrical idea and fascinating music."[17] Critic Martín Liut commented, "Oscar Edelstein opens new horizons for modern music and opera in Argentina."[18] In 1999 Edelstein presented El Tiempo, La Condena in Brazil and Argentina, critics called the work a "shock of music and the avantgarde in the heart of Brazil."[19] Their performances were considered as "the most important musical events of the last decade in Argentina.".[20] Since its creation in 1997, Oscar Edelstein has brought together and trained many talented young musicians. The current group is: Axel Lastra (Piano & Keyboards), Leonardo Salzano (Electric Guitar), Pablo Torterolo (Drums), and Mauro Zannoli (Keyboards and Processing). Regular guest artists are Deborah Claire Procter (Vocals) and Martín Proscia (Saxophone). Other guest musicians for the recent live concerts of Studies for The Acoustic Grid - Book II include Carlos Adriano Herrera (Bassoon), Soko Rodrigo (Flute), and Federico Linari (Harmonica). Past permanent members were Mario Castelli, Nicolás Varchausky, Mariano Cura, Richard Arce, Jerónimo Carmona, and Diego Romero Mascaró. Temporary members have been Pablo Chimenti, Hernán Kerlleñevich, Damián Anache, Nahuel Tavosnanska, Alfonso Ollúa, Rosa Nolly, Maria Laura Antonelli, and many others. In 2014, for the most recent disc, the ensemble was joined by prestigious Argentinean artists, pianist-composer Ernesto Jodos and wood wind multi-instrumentalist Marcelo Moguilevsky.
La Teoría Sagrada del Espacio Acoustico – Libro I
In 2004, La Teoría Sagrada del Espacio Acoustico – Libro I was recorded in Super Audio by the Ensamble Nacional del Sur. It was critically acclaimed and created a considerable excitement as the first disc in Latin America to be recorded in Super Audio (5.1)[21] and as the first work in the world to have been specifically composed for this system. Edelstein both conducted the ENS and played the piano alongside, Mariano Cura (Keyboards / Technical Head), Nicolás Varchausky (Electric Guitar), Diego Romero Mascaró (Drums & Percussion), Mario Castelli (Piano), Jerónimo Carmona (Bass & Double Bass) and Richard Arce (Electric Guitar).
El Hecho [The Fact]
El Hecho [The Fact] (1998), due to its popularity and controversy, was performed over fifty times, which is unusual for a new opera. The work was made in memory of Juan Carlos Paz, inspired by Paz' graphic design, Seis eventos [Six Events] which was Paz' last work but which was never musically realised it was the first work to pay homage to the famous Argentine composer and in it Edelstein also makes reference to his thwarted attempt to study with Paz.[22] Performed with the Ensamble Nacional del Sur (ENS) and three actor-singers, in the story a caricature of a theoretician desperately tries to explain Paz's mysterious designs, whilst in contrast, a female character, who represents a voice that travels through time and space, makes references that could be taken as reminisces about the life of Paz. The character of Paz enters and listens to the two monologues, at first saying nothing but then finally shooting the theoretician, at which point "the voice" dies in Paz's arms and he recovers his voice, takes the gun and acts as if to shoot the other musicians (the ENS), including Edelstein as conductor, but finally puts the gun on Edelstein's piano. This tribute to the teacher he never had stirred debate about the position and relationship between the composer and the academy of music. The work was described as "brilliant" and "the most important opera in the story of Argentina."[23]
Opera
Many of Edelstein's works are grounded in the field of "the extended theatre of music", where he stresses a focus on voice, speech production and the interplay with technology. Often he works with non-classically trained singers and choirs, training them to develop a specific sound colour. He has a "guest choir" of voices that will often appear in his compositions. He prefers to describe his works as acoustic theatre, feeling that the word opera both does not fit many of his works that use electro acoustics and not the traditional orchestra. The two most recent works are 'La Carta Imaginaria' (2014) - commissioned by the Ministerio de Cultura de la Nación for the Ciclo Iberoamericano de Ópera Contemporánea, and "El Caballo Fantasma" (2011) - multimedia musical performance commissioned by the Ministerio de Cultura de la Nación.
Eterna Flotación - Los monstruito (2006)
In 2006, C.E.T.C., the experimental wing of Buenos Aires' opera house, Teatro Colón, commissioned and produced his opera Eterna Flotación-Los monstruito As often is the case in his works, the libretto was written by Edelstein, this time adapting poems from Lo Dado by Rodolfo Enrique Fogwill. The Clarín reviewed it as "Original, innovative – some pieces are like from the anthology of opera." It was the first musical work to speak about the presidency of Carlos Menem. In the middle of scenes depicting the incredible decadence that Argentina fell into, Edelstein has a murga – a street-musical group common in Uruguay and Argentina often present at political protests – erupt into the theatre, cutting across conventional lines of opera as a "high" art. The final aria of the work is Edelstein's setting of "El Rio," a poem by Juan L. Ortiz, that he uses to make a contrast with the scenes of decadence and decay.
Tiradentes (2003)
Having written over 14 works of what Edelstein prefers to call Acoustic Theatre − it is "Tiradentes" that is perhaps the most noteworthy for its scale and vision. With the subtitle, "The Dream of Heroes"[24] it was the first opera to speak about a figure who Edelstein calls "Brazil's only real national hero", "Tiradentes" was an opera to take place over three days, about the man who led a revolt "La conspiración de Minas Gerais." Way before the French Revolution, it was the first act of self-determination in Brazil, which many years later contributed to Brazil's independence, which happened much later than the rest of Latin America.[25] As a joint project between the universities of Quilmes (Argentina) and Brasilia (Brazil) it was to be staged throughout Brasilia's model city. The complex project involved a team of more than two hundred actors, plastics artists, technicians and musicians from both countries, and received the backing of UNESCO and funding from prominent foundations. However, the project was ultimately postponed by a combination of factors, including the controversy that the history of Tiradentes provoked (such as Tiradentes' known links to the freemasons), political and diplomatic problems between Argentina and Brazil, and political issues in Brazil. Though it is a project that was fully conceived, composed and scored by Edelstein; finally only part of it was performed. Edelstein hopes to one day complete the project.
Orchestral
In recent years Edelstein has decided to return to writing for orchestra. In 2010 this decision led to a commission from Orquesta Sinfónica Nacional, under the direction of Pedro Ignacio Calderón with the soloist Eduardo Isaac (guitar) and called "La Foto Del Tiempo." Then in 2011 came a commission from Basel Sinfonietta leading to "Cristal Argento I" and a premiere conducted by José Luis Gomez - who had just won first prize in the International Conductor's Competition of Sir Georg Solti at the Alte Oper in Frankfurt, and went gone on to be in 2016 the new musical director of the Tucson Symphony Orchestra. Both works used live electronic processing. Edelstein has a new major orchestral work in process.
Other recent works
La Calesa en la Luna (2015) - Saxophone quartet
La Carta Imaginaria (2014) - Opera commissioned by the Ministerio de Cultura de la Nación for the Ciclo Iberoamericano de Ópera Contemporánea
El Caballo Fantasma (2011) - Multimedia musical performance commissioned by the Ministerio de Cultura de la Nación
ION (2007) - for piano with an accompanying film.
Rivers and Mirrors: Part I (2007) - piano, voice and video. Edelstein uses his aria, "El Rio", again in his work Rivers and Mirrors: Part I with singer Deborah Claire Procter (Wales) who also made the film to accompany the performance with the dancer Sandra Grinberg of the Trisha Brown Dance Company. This recital, in which Edelstein plays the piano, was premiered in the UK in 2007 to an enthusiastic response from audiences and critics. where Edelstein's piano technique was described as "formidable".[26]
Footnotes
↑ Edelstein remembers other friends that were also with him in the house of Ortiz, such as Sergio Gasparin, Gustavo Aranda, Luis Bourdin, Walter Heinze, Eduardo Isaac and many others.
↑ Monjeau, Federico Una mirada a los papeles del maestro Suplemento Cultura del diario La Razon. 1985
↑ Monjeau, Federico De la electroacústica a la ópera Clarin Página 10. 20 Sept 1992
↑ Including the productions Tabori: Las Variaciones Golberg (2003), Albee: El Juego del Bebé (2001), Estrázulas: Borges & Perón (1998), Handke: Las personas no razonables están en vías de extinción (1997), Discépolo: Amanda y Eduardo (1997), Gallípoli: Botánico (1997) and many others.
↑ Including Insanas (2006) piano, female voice and electronic sound /...Hasta dónde??!! (2002) electro acoustic composition, El tigre ciego based on Borges' poem El tigrero Simón Carbajal /Temblor de Fe (2001) electronic music / Tangos Científicos (1989) string orchestra, bandoneón & piano
↑ A ritual common in Santiago del Estero (Northern Argentina) but also sometimes taking place in Corrientes and Entre Rios
↑ Monjeau described Viril Occidente I as a "fantastic carnival." (1986)
↑ Solare, Juan Maria Oscar Edelstein, el hallador afortunado Interview realised in collaboration with Orlando Musumeci and Favio Shifres en BS AS en septiembre de 1997, publicada en "Orpheotron" no. 2, December 1997
↑ "The choice of instruments can be easily associated to the world of rock, but it is only a sound- colour because the group is impelled by Edelstein to explore zones that go much further, for example than the advanced experience of Robert Fripp, the leader of King Crimson". Liut, Martín Música con tracción a sangre La Nacion
↑ "Edelstein's constructive profile has an imprint in the saturation of sound, of style, of discursiveness, of planes, of spaces, in which silence has a punctual role. Diverse in production, Edelstein's work may be placed in the opposite side of the arch in relation to the production of Cage followers in Buenos Aires. However, in conceptual rupture and performative potency, in its commitment with the social contingency to which it belongs, Edelstein's work aligns with works such as Cage's resulting from a remarkable technical mastery (from the classics to the most updated procedures), and a defined creative profile. Edelstein's work projects new directions in multiple senses in the field of vocality in performance, from the twentieth century to the future."Davini, Silvia, Machines of Flight and Creation: The Human and the Non Human in Edelstein's vocal territories in Voice Cartographies in Contemporary Theatrical Performance: an Economy of Actor's Vocality on Buenos Aires' Stages in the 1990s Ph.D. Thesis, University of London, Senate House, London, June 2000
↑ Edelstein, Oscar & Eguía, Manuel Grilla acústica (Oscar Edelstein in collaboration with Manuel Eguía) Editor: Amalia Barboza Published: Gutleut Verlag de Frankfurt a. Main 2007
↑ Monjeau, Federico, Música, Improvisácion y poesía Clarin 31 July 1997
↑ Maxwell, Kenneth A devassa da devassa: a Inconfidencia Mineira: Brasil-Portugal Sao Paulo: Paz e Terra, 1985 / Milliet, Maria Alice Tiradentes: O Corpo do Herói Sao Paulo: Martins Fontes 2001
Rodolfo Enrique Fogwill, who normally went only by his surname, Fogwill, was an Argentine short story writer, novelist, and businessman. He was a distant relative of the novelist Charles Langbridge Morgan. He was the author of Malvinas Requiem, one of the first narratives to deal with the Falklands War. Fogwill died on August 21, 2010, from a pulmonary dysfunction.
Rodrigo Alejandro Bueno, also known by his stage name Rodrigo or his nickname "El Potro", was an Argentine singer of cuarteto music. He is widely regarded as the best, most famous and most influential singer in the history of this genre. Bueno's style was marked by his on-stage energy and charisma. His short, dyed hair and casual clothes differed from typical cuarteto singers with strident colors and long curly hair. During his career, Bueno expanded cuarteto music to the Argentine national scene, remaining one of the main figures of the genre. and Beatriz Olave, a songwriter and newsstand owner, Rodrigo Bueno was born into the cuarteto musical scene in Córdoba, Argentina. He first appeared on television at the age of two, on the show Fiesta de Cuarteto, along with family friend Juan Carlos "La Mona" Jiménez. With the help of his father, he recorded an album of children's songs, Disco Baby, at the age of five. During his preteen years he informally joined the local band Chébere during live performances. He dropped out of school at the age of twelve and successfully auditioned for the band Manto Negro. After five years without success in Córdoba, Bueno's father decided to try to launch his son's career as a soloist in Buenos Aires, Argentina. In 1990 Bueno released his first record, La Foto de tu Cuerpo, on Polygram Records. Bueno introduced his next album, Aprendiendo a Vivir, with a live performance at the nightclub Fantástico Bailable. The performance brought him his first recognition in the tropical music scene.
Leonardo Máximo Sbaraglia is an Argentine actor, with extensive credits in both Argentina and Spain. He has also worked in Mexico, and was cast in his first English-language role in Red Lights.
Diego Esteban Capusotto is an Argentine television presenter, actor, and comedian who is noted for his participation in television shows such as Cha Cha Cha, Todo por dos pesos and Peter Capusotto y sus videos.
Miguel Angel Varvello is an Argentinian musician who plays and teaches the bandoneon.
Federico Andahazi is an Argentine writer and psychologist.
Juan Carlos Tolosa is an Argentinian composer, pianist, and conductor.
Artaud is the third and final studio album credited to Argentine rock band Pescado Rabioso, released in October 1973 on Talent-Microfón. It is essentially the second solo album by singer-songwriter Luis Alberto Spinetta, who used the group's name despite their disbandment earlier that year.
The history of opera in Latin America dates back to at least the early 18th century. Newspaper articles suggest that, around the time that Italian opera was introduced to Latin America, it was received with some disdain due to the language barrier. However, translations in the librettos of certain operas suggest that there was greater interest from Latin Americans than the news had credited. Opera arrived in Latin America as a consequence of European colonization. On October 19, 1701, La púrpura de la rosa premiered in Lima in the Viceroyalty of Peru, the first opera known to be composed and performed in the Americas. It is an opera in one act by Spanish composer Tomás de Torrejón y Velasco with a libretto by Pedro Calderón de la Barca, and is the only surviving opera by Torrejón y Velasco. It tells the myth of the love of Venus and Adonis, which provoked Mars's jealousy and his desire for vengeance. Although the libretto follows the Greek myth, the tragic love story is seen as a resemblance of the alliance that was formed from a political marriage between the Spanish and French monarchies. Opera performances were performed also in the country of Mexico. It is within that nation that the first indigenous opera composers of Latin America emerged, with Manuel de Zumaya being considered the first and most important early opera composer. Outside of Perú and Mexico, opera was slower to gain a foothold, and it wasn't until the early to mid-19th century that other nations in Latin America began producing their own opera composers. Many of these 19th-century operas focus on the historical conflict between Europeans and indigenous peoples and were influenced by zarzuela, a form of Spanish opera. Mexican zarzuelas, as well as revistas, soon arose from Spanish influence and gained popularity.
Teresa Adelina Sellarés, best known as Teresa Parodi, is an Argentine singer and songwriter. She held the inaugural post of Minister of Culture of Argentina from May 6, 2014, to December 9, 2015. She was a deputy to the Mercosur Parliament (Parlasur) representing the nationwide district of Argentina from December 10, 2015, to October 6, 2016. She was elected on the Front for Victory ticket in the 2015 election.
conDiT was a musical creation platform founded in Buenos Aires on 28 October 2011.
The Premios Gardel a la Música, or just Premios Gardel, is an award presented by the Argentine Chamber of Phonograms and Videograms Producers (CAPIF) to recognize the best of Argentine music and to award the talent of Argentine artists in a diversity of genres and categories. The trophy depicts a sculpture of French Argentine tango singer Carlos Gardel, one of Argentina's music icons. The annual presentation ceremony features performances by prominent artists, and the presentation of awards that have more popular interest.
Federico Jusid is an Argentine composer who resides and works between Madrid and Los Angeles. He has written the scores for more than 60 feature films and over 70 television series. His work includes the score for the Academy Award-winner for Best Foreign Film The Secret in Their Eyes, for which he received the nomination for the Spanish Academy Goya Award for Best Original Score. He has recently worked with Alberto Iglesias writing additional compositions for the original score of Ridley Scott's Exodus: Gods and Kings, and he has also composed the OST for Kidnap with Halle Berry, and Happy 140. Other notable scores include The Life Unexpected, Everybody Has a Plan, The Escape, The Hidden Face, I Want to Be a Soldier, and more recently Magallanes, Getulio, The Ignorance of Blood, Betibu or Francis, Father Jorge. On television, his most recognised work is the soundtrack for the Spanish historical drama Isabel, with whom he won several awards, such as International Film Music Critics Association (IFMCA) Award and Reel Music Award. In 2015 he made the score for the TV series Under Suspicion and The Refugees and just released the historic drama Charles, King Emperor, sequel of Isabel. He has also composed works for concert hall premiered throughout Europe and America by recognized soloist and chamber ensembles. As a pianist and composer, he has performed and toured prestigious theaters in Europe, Asia and America. He recorded for labels BMG, IRCO, Magenta Discos and Melopea.
Simón Bajour also Szymsia Bajour was a Jewish Polish-Argentine violinist who was known for both his popular and classical repertoires.
Damián Anache is an Argentine composer living in Buenos Aires.
Almendra is the self-titled debut studio album by Argentine rock band Almendra which was released in 1969 on Vik, a subsidiary of RCA Victor. To distinguish it from the band's next release, Almendra II, it is also known as Almendra I. The album represented the first full-length musical endeavour of nineteen-year-old Luis Alberto Spinetta, having formed the band in the mid 1960s along with Emilio del Guercio, Edelmiro Molinari and Rodolfo García. The famous artwork, showing a crying man with a toy arrow stuck on his head, was designed by Spinetta to embody the different lyrical themes of the album.
The Ensamble Nacional del Sur (ENS) is an electro-acoustic ensemble located in Buenos Aires, which specialises in contemporary classical music.
Congregation Amijai is a Conservative Jewish Synagogue in Buenos Aires, Argentina.
Emanuel Ntaka is an Argentine singer, songwriter and activist. He was a member of the pop boyband Mambrú, formed in 2002 in the second series of the Argentine reality TV competition Popstars.
Marcelo Subiotto is an Argentine actor who developed his early career primarily on stage. He has also ventured into film and television.
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