Recording of Carlos Fariñas' and Sergio Barroso's Corales poema sonoro. This piece is excerpted from a show, "Dialogues," for band, instruments, images, and the public performed with Sergio Barroso in 1971. The sound poem is based on a montage of Cuban poems, which goes from a poetic enumeration of Cuban plants and trees to quotes from Macbeth and fragments of the Campaign Journal and other political narratives of José Martí (revolutionary, poet, founder of the Cuban Revolutionary Party, ideologist, pioneer of Latin strategic anti-imperialist thinking) written on the eve of his fall, fighting. Texts read, transformed concretely and electronically.
The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the timbre", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", twelfth part: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm at an even dynamic level. To continue these variations could be interesting. The general line of the variations is the passage by zones and blocks towards the separated harmonics, towards their destruction and in the contrasted sense by collecting together the harmonics. The timbre space - this is the space of perspective. From here comes the form of the composition - from unity to the details that make up the structure.