Alejandro Escuer
10th Annual Contemporary Classical Album
Vox Pop Winner
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Record Label: Cero Records
www.alejandroescuer.com
Home Base: MEXICO CITY
Genre: CONTEMPORARY CLASSICAL INFLUENCED BY FOLK AND WORLD MUSIC. ‘MY MAIN INTEREST IS TO MOVE AUDIENCES THROUGH THE CREATION OF SOUND EXPERIENCES CLOSER TO INTROSPECTION AND HYPNOTIC STATES OF MIND RATHER THAN TO MERE ENTERTAINMENT”
Category Entered: Contemporary Album
Work Submitted: CACTUS SPIRITUAL IN THE ALBUM: FOLKLORE IMAGINARIO
Artists Featured: Robert Dick, Hafez Nazeri, Antonio Russek, Eduardo Gamboa, Madeleine Shapiro et al
Label: www.cero-records.com
URLs:
www.alejandroescuer.com
www.luminico.org
www.onixensamble.com
Influences: Prehispanic Mexican wind instruments, Japanese Shakuhachi flute sound, Contemporary classical composers such as I. Stravinsky, M. Ravel, C. Debussy, B. Bartok, G. Ligeti and Gabriela Ortiz
Describe your nominated work:
CACTUS ESPIRITUAL
Hundreds of years ago, music used to be related to rituals and sacred states of mind that connected us with other Worlds. Before a sort of “imaginary trance” is achieved, Cactus Espiritual is a metaphor where bells and Pre-Columbine ocarinas build intricate rhythms as if they were restless states of mind prior to deeper states of meditation, that gradually move towards a more “flexible” and organic microtonal flute choir, that I relate to calmness and the necessary inner peace to move toward imaginary “luminous” thoughts. Alejandro Escuer performs the entire flute choir with different flutes. The resonance of bells, often associated with ceremonies, is treated rhythmically in a very innovative fashion. The abrupt dry end brakes the natural expectation of the listener that in this context awaits for a gradual fade out, a fact that affirms the contemporary character of the piece.
Why did you choose to submit this work to The 10th IMA’s? It summarizes the input of my musical style.
Did you use any unusual effects or instruments in this recording? All of the sounds are natural sounds of stones, flutes, ocarinas, bells and air. Low sounds of air and multi track flutes were manipulated by myself to build a discourse that I hoped to be organically integrated to the chosen musical ideas.
Were there any happy accidents while in the studio, or did everything go as planned? I believe in inspiration. I also believe in being firm, strong and assertive on making the first stroke of a sketch for a piece. Once that is done, I like to work on all the details around it with patience, care and some sort of imaginary timelessness. That is how I work on my music. I often see music visually. As if I were a painter, or a calligrapher, a like to imagine a world that can be heard and seen at the same time.
Did fans help you fund this project? Indirectly. I compose having a listener in my mind. He/She is as important as the music itself!
Who’s sitting in your audience? Everyone. I mean, old and young people from different backgrounds and cultures. I believe in a multicultural world who should build bridges between frontiers, countries, and absurd divisions. Tolerance and mutual understanding are both values which should be supported and pushed up by the arts and other activities such as science, the use of new technologies and innovative forms of government and public management in general.
What makes your fans unique? They are sophisticated. I am convinced that listeners of music are always sophisticated, because they want to find themselves in the music they listen, and when they do, they feel fulfilled! Fulfillment is one of the wonderful feelings of the living we should always support and enhance. Its predominance consolidates happiness and self reassurance.
Are there any songs you wish you wrote? Not really. Of course there are so many great classical masterpieces or popular songs out there, but the main responsibility for an artist is to find yourself through your work, even if this means not being that famous or rich, these findings brings you joy! If one wishes fame or a solid financial situation, that is valid but that is not the main purpose of art.
What artists are you listening to that would surprise your fans? 16th Century Colonial music from Latin America is invigorating! Mexican composer Gabriela Ortiz
What is your dream show lineup? My main effort toward a performance is always related to CREATE an experience to the audience, rather than a regular good concert. It is more important to deliver a state of mind, rather than a good conventional performance. I believe music tends to be more related to entertainment than to spirituality and/or introspection for the audience to feel identified. A hypnotic experience that can help the audience feel moved and conducted to states of joy, optimism and fulfillment!
What are your guilty pleasures on the road? I enjoy sunlight, water, love and friendship. I am passionate about my century, my time and all the people who are sharing with me the experience of contemporary society, that is the present. I know anyone in the past could have just said this, but I still find so many people who are always thinking about the past or the future, and that normally makes people unhappy.
Any close calls or mishaps while on tour? Not really.
Do you have any rituals before you go on stage? Yes, always. It is a very personal approach. It starts about one week before the performance. The rehearsals are part of that ritual. Sometimes the rehearsals are centered in technical parts of the performance, but I gradually incorporate ‘states of mind’ of enjoyment as the performance date come closer. The climax is always with the audience. People deserve all the energy and power you can deliver. I honor that very much.
Should music be free? Of course, music should be free just as air, water and fire. However, there should be fairness and equilibrium in all we do. Commercial music should help other genders as well as other social causes, so that art should help building communities and values.
How has digital affected your career? We all have affected by directly or indirectly. It is part of life. When the electric bulb appeared, the candle industry suffered tremendously. It is part of life and we have to adapt to changes. I am a firm believer that the strongest specimen is not the one who has more muscle power, but the one who has more adaptation capabilities to change.
Are digital singles vs. full albums the future of music? The future is mainly digital. I am sure about it. However, full albums will remain for a good 20 years still to come.
Finish this sentence: The music industry is… changing faster than ever at this point in history. Nevertheless, whenever this happens, it will remain changing quite slower after that, a fact that will give us all time to catch up with it.