HOPELESSNESS

Seventeen musical compositions for non-danced choreographic situations published (2020) as a host (Sacramental bread) and downloadable album. 5 different paper colors & 6 different sacred signs. “HOPELESSNESS” was made for “Legítimo / Rezo“, a dance piece conceived by Jone San Martín, Josh Johnson & William Forsythe.

In 2004 Jone San Martín was invited with other choreographers and dancers to make a lecture about choreographic notation at Théâtre de la Ville in Paris (France). Her answer to the question of how to use notation in William Forsythe dance works was to dance her explanation. In this moment, she released the best way to communicate and explain dance is to dance it. Also, during the lecture, Jone San Martin talks about the choreographic material which is vanishing with the dancers who dance the choreography. Once the choreographic material is danced, it disappears.

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TRACKLIST

Chant IPrelude
1 – Buddhist Version
2 – Islamic Version
3 – Catholic Version

Chant IIEntr’acte
4 – First Overture
5 – Second Overture
6 – Third Overture
7 – Fourth Overture
8 – Fifth Overture
9 – Sixth Overture
10 – Seventh Overture
11 – Eighth Overture
12 – Ninth Overture
13 – Tenth Overture

Chant IIIInterlude
14 – Alma Redemptoris Mater
15 – Untitled
16 – Untitled

Chant IVBonus Track
17 – Gure Aita


I have no idea what it all was, but I loved it.” – Frans de Waard


Many thanks to Jone San Martín.


Download as MP3 → Zip Archive – 160 Mb


Recording notes: “Chant I” includes “Aria da Capo” by Johann Sebastian Bach recorded in Barcelona (2013) Piano: Lluïsa Espigolé. → “Chant I” includes field recordings made in Myanmar, Malaysia and Spain during (2017 – 2019) → “Chant II” was made with a selection of sound extracts from ISIS mass media communications. → “Chant III” & “Chant IV” were recorded in 2013 in a church. No effect was used, only natural reflections.


Listening notes: “Chant I” should be listened as background music. → “Chant II” & “Chant III” should be mixed randomly during listening. Don’t listen to them separately. → “Chant IV” should never be heard. Play it in an empty space.