“Antiguo” Liner Notes
Muchas veces oí decir o leía de la critica especializada “Ya la música forma parte de un proceso industrializado” o mas simple y casi despectivo “Está hecho con máquina” si se reconocía la incidencia de manipulación tecnológica (midi y audio digital) en los distintos procesos creativos en la producción de obra musical. Y que en géneros como el jazz o la música clásica, perturban aun más a un grupo de “puristas” que sentían que tales procedimientos tecnológicos, competían o desvirtuaban la autentica manufactura y el depurado virtuosismo de sus creadores.
Este criterio creó toda una tendencia equivoca donde algunos de los más importantes musicos y creadores se sintieron intimados y se refugiaron en una cómoda postura “Unplugged” para escapar del dedo acusador de la crítica especializada, sin darse cuenta que paradójicamente por un lado la evolución de la ciencia y la tecnología les estaba brindado fabulosas herramientas de trabajo y por otro se habían llenado de prejuicios a la ora de utilizarlas.
“Antiguo” es el resultado de un extenso proceso de trabajo creativo donde la tecnología jugó un rol protagónico y fue utilizada de manera exhaustiva, al limite de las posibilidades del momento. Fue la herramienta indispensable que junto al depurado virtuosismo y el ingenio creativo de Gonzalo, definen el resultado estético e hicieron posible la realización de una obra discográfica de tal magnitud.
También es un bello ejemplo de muchas horas de trabajo experimental sin prejuicios.
Espero que en su disfrute encuentren la inspiración y confianza que nosotros tuvimos, para utilizar las herramientas tecnológicas de la época que nos toco vivir y decir con orgullo “está hecho con máquina”
Notes for Antigua
To think that there is progress in arts is one of the most damaging and common mistakes of Critics. Some people dare to reject or accept a work of art based on whether it is “modern” or not, this artirude puts any aesthetic analysis in a less than realistic light. What makes anypiece of art valuable is its timelessness and its capacity of reaching many people of different cultures and eras. If someone would write today as Homer or Dante did, he would have to be accepted and appreciated because the greatness of the work lies on its inner truth and coherence, not in any external condition. Cermuda depicted fame.. He looked for the poet’s glory. That glory is not eternal; thepoet is the son of time. It is not salvation either; the poet did not come to change or redeem the world, he came to idealize it. To Cermuda, the glory is in the artwork, in the well done verse chained to form — the living and thythmic body of the poem. He looked for glory not beyond time in the kingdom of incorruptible ideas, but in the beat of everyday work. He did not conceive glory as a symmertically petfect object. Instead, he looked for the perfection of live things that accept the complexity of the irregulat, of things that Bodeliet called bizarre, of things that lead to emptiness, death, the horrible and unnameable. The work does not exist without a reader to rescue it from the grave. Every teading is resurrection and a transmutation brought along by the support of the reader. The work of art rises and walks. Thanks to the reader, the poet is glorified thtough the poem. Names are unimportant. What matters and remains is the work of the poet. The poem is an embroidery of words and its temporality will be determined by its capacity to capture the truth. Art and authenticity are the double conditions for art to live. The artwork is not the ending. It is just a moment. Its life goes on everytime reader a rescues it and gives birth to a new poet. Glory is tradition. Glory is not the immortality of man but the continuity of language. A poem contains two enemy halves: culture and nature, instinct and conscience, fatality and liberty. They are tied to one another in a pact destined to be constantly broken.
Version from William Ospina’s “Es tarde paraen Hombre”
“Strength is born from necessity and dies in freedom”
Leonardo da Vinci
With all the things from childhood, the games and boleroes, talk and charangas, with all
that careless time, with fact of that music smelling like authentic nature, I fulfill the circuit
of my life. Going through time sick and wise, white and black, contrary and brave, inspired
in the history of lamps, laurels, legs deserts and hills.
Thank’s to all who gave time and space for rhis production: musicians, executives, friends,
family and enemies.
Thanks to so many ancient emorions and the antiquity of dreams.
Keyboards: Gonzalo Rubalcaba
Sequencing: Gonzalo Rubalcaba/Mario Garcia
2. CIRCUITO III
Piano & Keyboards: Gonzalo Rubalcaba
Trumpet: Reynaldo Me/ian
Bass: Felipe Cabrera
Drums: Julio Barreto
Sequencing: Gonzalo Rubalcaba/Mario Garcia
3. ELLIOKO (Yoruba word for”Two”)
This piece is dedicated to the Cuban Santeria God “Ochosi” – humer, physician, fortune teller and savior· one of the warriors of the Santeria iconography together with Eleggua and Oggun. Ochosi, who is identified with the arrow, is the son of Goddess Yernaya. Mother of the Sea, and brother of Inle – the Supreme Physician. The story is based on a Paraki (legend) and is structured into five choruses, each developing a moral, “Ochosi’s Pataki” . It is said that the day after Ochosi hunted 105 parrots, he promised Obatala (God of Minds and Thoughts) an offering of all the feathers from the birds. Having made the promise, Ochosi left the 105 parrots at home unril the following day. Meanwhile, Ochosi’s mother came home and, as usual, looked for what her son had hunted. She found the parrots, cooked them. threw away the feathers and took the food to a party with her friends. When Ochosi returned home, he became angry believing that someone had stolen his birds. He went back to the forest and hunted 105 more parrots and offered the feathers to Obarala as promised. Having acknowledged Ochosi’s skills, Obarala conceded him an “ache (miracle)”. Ochosi’s choice was ro make his arrows infallible whenever he used them. The first person ro whom the miracle was ro work was the one who had taken the 105 parrors, whomever it may have been. When Ochosi rerurned home, he found his mother dead with her heart pierced by her son’s arrow. In a life where we go from happiness to failure “ires ro Osobbos”, anger and lack of deliberation can drive us to a tragic ending. Departing from a motivic (dynamic) rhythm, the composer builds the entire structure by following the “marchanti” characrer of almost all the chants to Ochosi. Instead of a melodic theme, there is a rhythm pattern that sustains the exchange between chants and music. Through a careful research on the rites for Ochosi. the piece was written by tracing the emotions suggested by the legend. The piece was then adapted by Apwon Lazaro Ros, a connoisseur of Santeria, so that the chants tell the story of the legend. There is a unity among the Afrocuban percussion, drums and sequenced elements that suggest an alternare exchange between the traditional and the rational. The formal construction follows the patrern of showing the same sections with slight variations each time.