Federico Reuben
www.ranchonotorious.org/federico_reuben
www.myspace.com/freuben
Federico Reuben (1978) inicia sus estudios de piano a los nueve años. Estudia ciencias políticas y música en la Universidad de Costa Rica antes de viajar a los Estados Unidos en 1999 para estudiar composición en la Universidad de Maryland con Lawrence Moss. En setiembre del 2002 viaja a Holanda para continuar sus estudios en el Conservatorio Real de La Haya donde estudia con Louis Andriessen, Richard Ayres, Gilius van Bergeijk y Martijn Padding. Federico tiene un bachillerato y una maestría en composición musical de esta institución. En 2005, asiste un curso de un año en el Instituto de Sonología, La Haya. Actualmente, Federico es candidato a un doctorado en composición y tecnología musical en Brunel University, Londres, financiado por una beca del gobierno inglés (ORSAS) y otra de la universidad. Sus supervisores son Richard Barrett y Christopher Fox y su investigación se centra en buscar nuevas estrategias para la Música Derivata (música derivada – K.Barlow) y las apropiaciones sónicas (Plunderphonics). Federico ha escrito obras para solistas, ensambles de cámara, orquesta y una ópera. Ha colaborado con ensambles como Ensemble MAE, Piano Circus, Roentgen Connection, Python Saxophone Quartet y Royal Ensemble and Singers. También ha tenido la oportunidad de asistir cursos y clases maestras de composición con Steve Reich, Jonathan Harvey, Klarenz Barlow, Marco Stroppa y Michael Jarrell.
Esférica Cantándote (2005)
Esférica Cantándote (2005) fue concebida totalmente con herramientas de composición asistida por computadora. El proceso creativo parte de la apropiación y transformación de 5 canciones de pop y jazz. Estas canciones residen, se relacionan, coexisten, evolucionan y mutan, en la estructura huésped de In ecclesiis de Giovani Gabrieli (ca.1555–1612). La obra está inspirada en la vida y la obra de Johannes Kepler (1571-1630) y en especial su teoría de la armonía de los mundos. Interpretada por estudiantes del Conservatorio Real de La Haya dirigidos por Hans Leenders.
“You set me the orbit of Mars, no let me speak, you set me this orbit, a most intractable problem, yet you give me no readings for the planet; how, I ask, let me speak please, how I ask am I to solve it, do you imagine?”
Tycho shrugged elaborately. “De Tydske Karle,” he remarked to the table in general, “ere allesammen halv gale,” and Jeppe the dwarf, squatting at his master’s feet under the table, tittered…
Christian Longberg clasped his hands as if about to pray. “You expect to solve the problem of Mars, do you, Herr Kepler?” smiling thinly at the idea…
“You do not think me capable of it, sir? Will you take a wager-let us say, a hundred florins?”
“O splendid,” cried young Tyge. “An hundred florins, by Laertes!”
“Hold hard, Longberg,” Tengnagel growled. “Best set him a certain time to do it in, or you’ll wait forever for your winnings.”
“Seven days!” said Kepler promptly, all swagger and smile without while his innards cringed. Seven days, my God. “Yes, give me seven days free of all other tasks, and I shall do it- provided, wait,” and nervously licked his lips, “provided I am guaranteed free and unhindered access to the observations, all of them, everything.”…
Tycho… nodded, and then shrugged again, and called for more wine, making the best of it. Kepler pitied him briefly.
“Well then, sir,” said Longber, his look a blade, “we have a wager.”
From John Banville’s Kepler
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Federico Reuben, born Costa Rica (1978) was trained as a pianist since the age of 9. He studied political science and music at Universidad de Costa Rica before leaving for the United States in 1999 to study composition with Lawrence Moss at the University of Maryland. In September 2002 he moved to The Netherlands to continue his studies at The Royal Conservatoire, The Hague. He earned his Bachelor’s (2003) and Master’s (2006) degrees in composition from this institution, where he studied with Louis Andriessen, Richard Ayres, Gilius van Bergeijk and Martijn Padding. Currently, he is a PhD candidate at Brunel University’s School of Arts – Department of Music, London, funded by an Overseas Research Students Award Scheme (ORSAS) Scholarship and a Brunel University Studenship. His supervisors are Richard Barrett and Christopher Fox and his research focuses on Derivative Music and Plunderphonic strategies. Federico has received commissions from ensembles such as Ensemble MAE, Piano Circus, Roentgen Connection, Python Saxophone Quartet and Royal Ensemble and Singers. He received courses and workshops tutored by composers including Steve Reich, Jonathan Harvey, Clarence Barlow, Marco Stroppa and Michael Jarrell. He also attended a one-year intensive course in Music Technology at The Institute of Sonology, The Netherlands.
Esférica Cantándote (2005)
Esférica Cantándote (2005) was conceived in its entirety with Computer-Aided Composition (CAC) tools. The creative process begins with the appropriation of 5 pop and jazz songs. These songs reside, form relationships with each other, coexist, evolve and mutate in the host structure of In ecclesiis by Giovani Gabrieli (ca.1555–1612). This composition is inspired by the life and work of Johannes Kepler (1571-1630), particularly by his theory of the Harmony of the Worlds. Performed by students of the Royal Conservatory, The Hague, led by Hans Leenders.
“You set me the orbit of Mars, no let me speak, you set me this orbit, a most intractable problem, yet you give me no readings for the planet; how, I ask, let me speak please, how I ask am I to solve it, do you imagine?”
Tycho shrugged elaborately. “De Tydske Karle,” he remarked to the table in general, “ere allesammen halv gale,” and Jeppe the dwarf, squatting at his master’s feet under the table, tittered…
Christian Longberg clasped his hands as if about to pray. “You expect to solve the problem of Mars, do you, Herr Kepler?” smiling thinly at the idea…
“You do not think me capable of it, sir? Will you take a wager-let us say, a hundred florins?”
“O splendid,” cried young Tyge. “An hundred florins, by Laertes!”
“Hold hard, Longberg,” Tengnagel growled. “Best set him a certain time to do it in, or you’ll wait forever for your winnings.”
“Seven days!” said Kepler promptly, all swagger and smile without while his innards cringed. Seven days, my God. “Yes, give me seven days free of all other tasks, and I shall do it- provided, wait,” and nervously licked his lips, “provided I am guaranteed free and unhindered access to the observations, all of them, everything.”…
Tycho… nodded, and then shrugged again, and called for more wine, making the best of it. Kepler pitied him briefly.
“Well then, sir,” said Longber, his look a blade, “we have a wager.”
From John Banville’s Kepler
