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CURRENT PROJECTS > Inside Out LT
Much before playing prepared pianos became a common place, decades ago, Josep-Maria Balanyà began to use these techniques and has since recorded multiple albums.
However, for a certain time now, Balanyà has been giving concerts using only the traditional piano technique. The result, though, is quite far from that of a classical piano due to his use of the sostenuto pedal and other techniques. This is accompanied by occasional reverb and delay.
It could be argued that Balanyà’s sound emerges from the amplified piano outwards in a way that, even if it is just low technology, it can feel electronic to the ear.
The duration of the performance Inside Out LT is approximately sixty minutes, without breaks between the different movements. This continuity allows for a dramaturgy that unites each piece or movement, thus resulting in a unique work.
The musical material that Balanyà uses delves into elements of contemporary music, jazz, free music, experimental and, fundamentally, his creative, living and permanent experience.
This music is an abstract interpretation of human feelings throughout their never-ending story of love and hate. Listening to Balanyà might feel like being caressed and skinned alive at the same time.
Composition and interpretation by Josep-Maria Balanyà
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Mucho antes de que tocar pianos preparados fuera algo habitual, hace décadas, Josep-Maria Balanyà empezó a utilizar estas técnicas y desde entonces ha grabado varios discos.
Sin embargo, desde hace un tiempo, Balanyà ofrece conciertos utilizando únicamente la técnica tradicional del piano. El resultado, sin embargo, dista bastante del de un piano clásico debido al uso del pedal sostenuto y otras técnicas, acompañado de ocasionales reverberaciones y delays.
Se podría afirmar que el sonido de Balanyà emerge del piano amplificado hacia el exterior de una manera que, aunque se trate de una técnica de baja tecnología, puede resultar electrónico para el oído.
La duración de la interpretación Inside Out LT es de aproximadamente sesenta minutos, sin pausas entre los diferentes movimientos. Esta continuidad permite una dramaturgia que une cada pieza o movimiento, dando como resultado una obra única.
El material musical que utiliza Balanyà ahonda en elementos de la música contemporánea, el jazz, la música libre, la experimental y, fundamentalmente, su experiencia creativa, viva y permanente.
Esta música es una interpretación abstracta de los sentimientos humanos a lo largo de su interminable historia de amor y odio. Escuchar a Balanyà puede ser como si te acariciaran y te desollaran vivo al mismo tiempo.
Composición e interpretación:
Josep-Maria Balanyà -
Molt abans que tocar pianos preparats es convertís en un terreny habitual, fa dècades, Josep-Maria Balanyà va començar a utilitzar aquestes tècniques i des de llavors ha gravat múltiples àlbums.
Tanmateix, des de fa un temps, Balanyà fa concerts utilitzant només la tècnica tradicional del piano. El resultat, però, està força lluny del d'un piano clàssic a causa del seu ús del pedal de sostenuto i altres tècniques. Això s'acompanya de reverb i delay ocasionals.
Es podria argumentar que el so de Balanyà emergeix del piano amplificat cap a l'exterior d'una manera que, encara que només sigui de baixa tecnologia, pot sentir-se electrònic a l'oïda.
La durada de l'actuació Inside Out LT és d'aproximadament seixanta minuts, sense pauses entre els diferents moviments. Aquesta continuïtat permet una dramatúrgia que uneix cada peça o moviment, donant com a resultat una obra única.
El material musical que utilitza Balanyà s'endinsa en elements de la música contemporània, el jazz, la música lliure, l'experimental i, fonamentalment, la seva experiència creativa, viva i permanent.
Aquesta música és una interpretació abstracta dels sentiments humans al llarg de la seva història interminable d'amor i odi. Escoltar a Balanyà pot semblar com si t'acariciessin i t'escorxessin viu alhora.
Composició i interpretació:
Josep-Maria Balanyà
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The career of the pianist Josep-Maria Balanyà, born in Barcelona on July 25, 1949, with more of 40 years of work on stage, 28 recorded albums and more than 150 works, has taken him from the classical music and jazz until his specialization in the field of improvisation, new contemporary music, experimental and performance. Internationally recognized, Balanyà is also composer, director of improvisational orchestras, sound artist, painter and photographer.
Balanyà has studied in Barcelona, in Switzerland (Swiss Jazz School and Hochschule für Musik und Theater from Bern) and Germany (Europäische Kunstakademie Trier). He has attended composition workshops, led by Helmut Lachenmann, Walter Zimmermann and Ivan Fedele, and at Borah Bergman's improvisation workshops in New York. He has carried out intense work in the search for sounds of nature in Mexico in collaboration with oceanographers and biologists, such as the mastozoologist Bernardo Villa.
Among his works you can find projects for piano, voice, electronics, video, percussion and butoh dance He has created sculptures and interactive sound installations. His works for piano reflect his interest in complementing the pure sound of the instrument with prepared piano parts.
He has developed his most imaginative actions on the border between music and the performance, such as a recital in complete darkness in the Sendesaal in Bremen or the concerts for the bells of Trier Cathedral (Germany).In his projects he has played with top musicians, such as Joachim Kühn, Claudio Pontiggia, Hans Koch, Franz Hautzinger, Carlos Zingaro, Michiel Borstlap, Walter Quintus, Ksenija Lukić, Das Neue Ensemble Hannover, Americo Rodrigues, Hannah Marshall, Ramón López, Paul Rogers, Mark Sanders, Hannah Ma (dance), Ana Maria Rodríguez and Mimi Barthélemy among others.
Balanyà has played at festivals and radio programs in many countries in Europe and America. He has received several scholarships in Germany (Worpswede and Eckernförde) and Switzerland (Fondazione Marguerite Arp, Locarno). He currently resides in Brussels and Barcelona.
