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Octavio López |
éditions musicales européennes | |||||||||||||||||||||||||||||||||
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Octavio López, born in 1962 in Buenos Aires, Argentina. Studied music at the Collegium Musicum in Buenos Aires. In France since 1987, he studied composition with J. L. Campana. In 1992, he graduated in composition and analysis at the Ecole Nationale de Musique in Aulnay-sous-Bois, and was awarded the Kranichsteiner Stipendienpreis at the Darmstadt Internationale Ferienkurse für Neue Musik that same year. From 1992 until 1994, he studied psycho-acoustics and music-related computer-processing at the Université Scientifique d'Orsay, Paris-Sud (ARCEMA), with G. Charbonneau. In 1994 and 1995, he was guest composer for the annual Ircam computer and computer-assisted composition programme. His own research on the aesthetics of his music prompted him to attend musiclogist S. Arom's 1996 lectures at Lacito (CNRS), and concurrently, in his latest works, to explore the congruence of musical and pictorial languages.
Lastly, his aesthetic line is connected to plastical imaginary of abstract artist's movies: Oskar Fischinger, Len Lye, Peter Tscherkassky or Jackson Pollock.
Octavio López receives commissions from French State, Sacem and international festivals. His works are premiered in differents european and american (north and south) countries, by ensembles such as 2e2m, Musicatreize, Court-circuit, Cikada, L'Instant donné, Phorminx, KNM Berlin, Kuraia, Sinfonietta...
In 2005 he awarded a grant of Villa Médicis Hors-les-murs for a stay in north India.
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HORS-SÉRIE - PAUL KLEE June 2005
Symphonie
déconcertante
propos recueillis par
Laurence Le Saux
François Bayle -
Georges Aperghis - Edith Canat de Chizy - Jean-Luc Darbellay -
Octavio López - Thierry Escaich - Emmanuel Nunes
Eclair Multicolore
avec Octavio
LÓPEZ
[...] En 1993,
j'ai composé Bunter Blitz (Eclair multicolore), une oeuvre
pour treize musiciens. Les accords y figurent les éclairs, et
sont entrecoupés de nappes musicales superposées.
J'aimerais composer tous les dix ans un nouveau mouvement de
Bunter
Blitz,
afin de pouvoir analyser l'évolution de mon écriture
musicale.
Lorsqu'il a offert La Pensée créatrice à Boulez,
Stockhausen a déclaré que Paul Klee était le
meilleur professeur de composition possible.
Il avait raison ! [...]
In the 20. century, music and painting are not distant artistic continents any longer. If, at the end of the 17. century, Henry Purcell 's opera 'Dido and Æneas' is related to the painting of his time &emdash; Simon Vouet's La Mort de Didon, for example &emdash; yet, the link between the two can only be suggested by a third medium: the narrative (Virgil's Aeneid). Nowadays, this link between different forms of art does not lie at the surface of "things" any more, it is no longer a connection of the figures with the narrative, it is a constituent element of the material itself.
In this respect, Octavio López' music is a perfect example of this new "deal" between plastic and tone arts. He manages to infer formal methods from painting that will later feed his music. From Bunter Blitz (1994), he infers from Paul Klee's Bauhaus teaching a "description" of the accident, and from Magic Mirror (1996), he reads out the point of anamorphic "confusion" in Maurice Cornelis Escher's illustrations.
The description of the"accident" and the point of anamorphic "confusion" blend in Compenetrazioni Irisdescenti... G. Balla (1997) generating an overture in which "timbre, space and mouvement" are but one.
Omer Corlaix, 1998
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Six 4 U, 1st picture, sextuor with voice, 1992 (first performance at Darmstadt)
Qawan Escoipe, quintet with voice, 1992 (commissionned by the Ensemble Encuentros, for lecture-concert, Radio France)
One for Bob, for ctb. and tape , 1993 (first performance at the Arcema)
