CULTUREOrellana
| Prénom | Joaquín |
| Nom | Orellana |
| Compétences | -Electronic Music. |
| Description courte | Born in Guatemala City, 1937; studied violin and composition at the National Conservatory of Music in Guatemala between 1949 and 1959. He was also studying and composing at CLAEM - Instituto Di Tella, in Buenos Aires, Argentina, bewtween 1967 and 1969. |
| Bio |
Orellana has been working with electroacoustic medias in his music since the early 60s. His conception and development of new instruments derived from the marimba plays also a major role on his musical trajectory. As remarked by several researchers, during the last decades his music reflects a compromise with the social situation of Guatemala’s poorest class, focusing on the traditional folk culture, local expression and sound environment.
Orellana composed, among other works: “Contrastes” (ballet) in 1963 for orchestra and tape, producing the tape part at a commercial recording studio in Guatemala; “Metéora” in 1968 for tape, realized at CLAEM - Instituto Di Tella in Buenos Aires; “Humanofonía” for orchestra and tape in 1971, tape part also realized at a commercial recording studio in Guatemala, and “Humanofonía” for tape only, being this the same recording used for the original orchestra and tape homonymous work; “Malebolge” (“Humanofonía II”) and “Entropé” in 1972, both for tape; “Primitiva I”, “Asediado-Asediante” and “Itero-tzul” in 1973, all of them for tape; “Sortilegio” in 1978 for tape; “Rupestre en el futuro” for tape; “Imágenes de una historia en redondo (imposible a la equis)” in 1980 for tape; “Híbrido a presión” in 1982 for 2 flutes, special instrument and tape; “Evocación profunda y traslaciones de una marimba” for full Guatemalan marimba, choir, 5 recorders, reciter and tape in 1984; and “Híbrido a presión II” in 1986 for 2 flutes, special instrument and tape. |
| Page d'accueil | http://www.fondation-langlois.org/flash/e/stage.php?NumPage=556 |
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