Balency Béarn & Salvadores - A machine to be moved by
- 1Flotan elementos
- 2A machine to be moved by
- 3Estela
- 4Formas de aire
- 5A roof is no longer needed
COMAL17D
•
Open edition
'A Machine to be moved by' is an improvised piece by saxophonist Gal Go (Ignacio Salvadores) and pianist and composer Andrea Balency-Bearn.
French architect Le Corbusier famously wrote that “the house is a machine for living in”, highlighting the importance of getting rid of unneeded ornamentation and cultivating a functional approach to architecture.
These ideas aren’t reflected in the music itself, but in how we approached making it - with detachment and without any pre-conceived aesthetic ideas, in the most simple, functional way possible, finding our way through its structuring from the ground up. This also connects with what is at the core of improvisation - the “machinery” of process. Although in architecture, scaffolding is generally concealed in the end result, in improvisation the process is the result. In our particular case, having improvised with no melodic starting point, no specific aesthetic goal, and no editing, what we are left with is pure process, revealing all the machinery behind the music.
Interestingly, this exposed machinery lays our vulnerability as performers bare, with our reactions and responses to each other’s lines and patterns fully on display.
“relations, rhythms, proportions, conditions of emotion, a machine to be moved by”
Le Corbusier
Saxophone, Electronics: Ignacio Salvadores
Piano: Andrea Balency-Béarn
Engineered by Tom Grey Phillips & Kaspar Tosin at the Goldsmiths Studios, London, UK
Produced and mixed by Tom Grey Phillips
Mastered by Ross J. Koopmans
Art by Marilyn Baker
French architect Le Corbusier famously wrote that “the house is a machine for living in”, highlighting the importance of getting rid of unneeded ornamentation and cultivating a functional approach to architecture.
These ideas aren’t reflected in the music itself, but in how we approached making it - with detachment and without any pre-conceived aesthetic ideas, in the most simple, functional way possible, finding our way through its structuring from the ground up. This also connects with what is at the core of improvisation - the “machinery” of process. Although in architecture, scaffolding is generally concealed in the end result, in improvisation the process is the result. In our particular case, having improvised with no melodic starting point, no specific aesthetic goal, and no editing, what we are left with is pure process, revealing all the machinery behind the music.
Interestingly, this exposed machinery lays our vulnerability as performers bare, with our reactions and responses to each other’s lines and patterns fully on display.
“relations, rhythms, proportions, conditions of emotion, a machine to be moved by”
Le Corbusier
Saxophone, Electronics: Ignacio Salvadores
Piano: Andrea Balency-Béarn
Engineered by Tom Grey Phillips & Kaspar Tosin at the Goldsmiths Studios, London, UK
Produced and mixed by Tom Grey Phillips
Mastered by Ross J. Koopmans
Art by Marilyn Baker
