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1.
Underwater Music I 03:43
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2.
Underwater Music II 06:31
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3.
Underwater Music III 03:39
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4.
Underwater Music IV 02:55
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5.
Underwater Music V 06:46
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6.
Underwater Music VI 06:19
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7.
Underwater Music VII 06:31
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8.
Underwater Music VIII 06:07
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9.
Underwater Music IX 01:26
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about

Recorded by Alexander Frangenheim on Spring 2016 at Studioboerne45, Berlin.
Mixed and mastered by Alexander Frangenheim and Dietrich Petzold.
Graphic design by Carlos Santos.
Production by Ernesto Rodrigues.


Born from one of several encounters in Berlin, this string trio (viola, cello and contrabass) epitomizes the state of beginning-of-the-century acoustic European free improvisation outside the “tradition.” With a brilliant collective sound that reflects the plurality of its voices and an interesting conversational attitude, the trio proposes the occupation of sonic space through interaction with the architectural space where the performance occurs. This, in turn, influences how the sound is structured, expanded and dramatized at the very moment of its conception. Proceedings begin with the creation of an atmosphere or sketch, and evolve in a cinematic progression, a dynamic redefinition of multiple planes, colors, forms, timbres and textures whose outcome is far superior to the sum of its parts. Something organic that develops between interconnected organisms, following an inner logic that emerges through sequence, fragmentation and recomposition. Labyrinths and hiding places that are reconnoitered and illuminated to reveal interesting surprises. The result is an intricate, intuitive and risky music, both light and dense, strong and delicate, discreet and exuberant, full of contours and subtleties. Eduardo Chagas

REVIEWS

Creative Sources continues its exploration of improvising string ensembles with Underwater Music by Ernesto & Guilherme Rodrigues & Alexander Frangenheim: The string trio format follows Rodrigues's output with the Lisbon String Trio, discussed extensively here in July. Of course, Frangenheim has appeared often with Rodrigues — I first took notice with Nor (recorded & released in 2014), and continue to admire e.g. his music on Light air still gets dark (which also explores another ongoing Creative Sources concern, extended vocal technique). In this case, Underwater Music actually consists of older recordings than the Lisbon String Trio series, as well as than recent Rodrigues string albums such as Xenon, Blattwerk & Nepenthes hibrida. Discussed in May with "String Theory" Xenon was Incidental Projections, another string trio — but with two cellos. That initiated the subject for me, but Underwater Music, which adopts the viola-cello-bass format, had already been recorded in Berlin in "Spring" 2016 (details not given), not so very long ago in the context of album releases, but prior to all of these others, and basically a year prior to the Lisbon String Trio series. I had thought that the "underwater" term might refer to the techniques involved, perhaps to a literal use of water (further suggested by the watery cover art), but now I'm guessing that it refers to a notion similar to stocks or real estate being "under water," i.e. that the concerns of the album were greatly extended in various directions prior to its release. (So it's an example of what I recently called "time travel" in music via recordings.) Perhaps that's the case: There is a worthwhile "mission statement" included regarding the string trio format & new possibilities for ensemble improvisation: The statement could as well apply to all the albums just mentioned, based as they are around string trios or quartets. Underwater Music consists of nine brief tracks that seem to have the character of studies. They illustrate various ideas for interactions, particularly strongly at the start, and maybe fall off a bit in inspiration as the album proceeds. (The mixing, by Frangenheim, is usually easy to hear.) The trio of musicians pass through a wide array of territories, sketching a variety of interactive (& often contrapuntal) ideas, generally in specific ways. There is consequently a greater clarity of approach on Underwater Music than on the other albums named, which tend to go in multiple directions at once. Perhaps it's an ideal introduction, then, particularly for those for whom the style is new. (It's really hard for me to say: Since I've been time traveling, the style isn't new.) [...] 16 October 2017. Todd McComb's Jazz Thoughts

Like the Lisbon String Trio, this trio explores strings in a viola, cello and double bass trio configuration, from Creative Sources core players Ernesto Rodrigues, Guilherme Rodrigues, and Alexander Frangenheim, exploring a classic trio concept towards new expressions and boundaries, through spritely interaction and sonic expedition. (Squidco)

Three rather recent examples of the mastery of the Rodrigues family. "Underwater Music" is an excellent album recorded by the father, the son and the prominent German double bass player, Alexander Frangenheim, born 1959 in Wuppertal. The music, obviously, has a lot of common with the contemporary chamber music of Helmut Lachenmann or Giacinto Scelsi, even though is more powerful and more expressive listen to the nal of "Underwater Music I". "Underwater Music II" is totally different it is a slow track, more in the spirit of Pierre Boulez music and Henryk Mikolaj Górecki's string quartets.
My favorite is the nearly 7 minutes long "Underwater Music V", with beautiful combination of pizzicato and bowed lines, combined with percussion effects etc. Excellent record, very highly recommended!!! Maciej Lewenstein

credits

released December 13, 2017

Ernesto Rodrigues - viola
Guilherme Rodrigues - cello
Alexander Frangenheim - double bass

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Ernesto Rodrigues Lisbon, Portugal

Ernesto Rodrigues (Lisbon, August 29th 1959) has been playing the violin / viola for 50 years and in that time has played all genres of music ranging from contemporary music to free jazz and free improvisation, live and in the studio.
The relationship with his instruments is focused in sonic and
textural elements as well as the use of extended techniques. ... more

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