JOAN BAGÉS
Joan Bagés i Rubí (pianist, composer, sound artist) – Lleida, 1977 | www.joanbages.com
Professor of the Master’s in Composition with New Technologies at ESMUC and Artistic Director of Morphosis Ensemble.
My sonic work includes both instrumental music (piano, organ) and electroacoustic music, acousmatic music, and sound installations. Rather than approaching these creative facets as independent elements, I strive to establish a continuum based on the creation of networks between these disciplines. What unifies my creative work is the ongoing research into what I call «Spectro-morphological Composition in Differentiated Layers within a Holophonic Creation Framework.»
As a pianist, I have worked with Vladimir Karpov (Russia/Spain), Ángel Soler (Spain), and Jean Pierre Dupuy (Spain/France). I have received guidance from Gian Franco Ricci and András Kemen. My pianistic work spans a range of genres and aesthetics, making extensive use of the instrument with a repertoire that ranges from free improvised music, with my solo project «From the Ruins» for piano and electronics, to minimalist and neoclassical music, as well as contemporary music with electronics and video. I have performed at venues such as the Centro de Bellas Artes in Madrid, the Palau de la Música Catalana, among others. As an electroacoustic organist, I develop a concert program based on the relationships between this «analog synthesizer,» the pipe organ, and electronic music. DISCONTINUM ENERGETIC is the framework that allows for the development of a listening and concert proposal based on the interactions between these devices.
Simultaneously, I develop graphic notation systems derived from conventional notation, employ and create interactive musical systems, and have developed the concept of the «sound score.» My creative work and research are intensely focused on the creation and study of electroacoustic, multimedia, and audiovisual musical relationships, as I consider them to be integral components of the DIGITAL OCEAN in which we live today. A subaspect of this line of work, which constitutes a significant portion of my production, is the development of interactive musical works that explore various types and levels of musical interactivity with the aim of investigating new relationships between the work, the performer, and the audience.
