Admission with payment at the ticket office

Muchas manos, muchas voces. Collective exercise to sound the river

“Many hands, many voices” is a collective exercise/ritual of sounding and listening around the work “Cuando el rio suena” by Tania Candiani. A text score is given to the audience at the start of the event; it proposes how to relate to the space and the instrument and introduces the codes that will be signaled by the conductor to give shape and development to the piece.

Up to 24 people take a place around the harp, which is amplified and spatialized using the walls of “Tornarse montana” as acoustic tools to redirect the sound from the speakers. The rest of the attendees simultaneously perform another score with their voice, following the same codes signaled by the conductor.

From this play emerge diffuse yet powerful textures that involve the audience directly and deeply in the creation of a musical discourse. The need to pay attention to entries and cutoffs activates a type of listening that normally only musicians practice, in which silences are as important as sounds and listening to others is essential for blending with the ensemble.

The text scores indicate an ending in which the audience is invited to sit in silence and listen to an echo or memory of what has just occurred, which is an improvisation by Pedro Eco on the computer using the recordings of what they just played as raw material.

About Pedro Eco Errazuriz

They are a composer, improviser, and performer who works and resides in the metropolitan area of Medellín.

Their work can be divided into two distinct practices with coinciding interests. The first is the creation of scores to be performed in a concert hall by choirs, ensembles, and soloists. These scores often include choreographic and theatrical indications alongside traditional musical notation, situating the pieces in the world of “music theater” and experimental opera.

The second is Eco as a computer music performer, from which they explore the languages of drone, ambient, and noise music through free improvisation and open-form compositions. They work alongside theater and dance collectives, in improviser ensembles, and as a soloist.

In both practices, they investigate the gestural and performative dimension of live music, advocating for the body-on-stage as a fertile source of musical meaning, which shakes up the customs and etiquettes of the concert experience and allows for giving a physical dimension to the normally incorporeal sounds of electronic music.