Cesar Bolanos (Peru, 1931) was a member of the artistic movement "Renovacion"
with Edgar Valcarcel, Olga Pozzi-Escot and Andres Sas.
After learning electronic music in New York in the late 1950s,
in 1963 Bolanos relocated to Buenos Aires where he helped to set up
an electronic and computer music studio for which he composed
Intensity and Height (1964), a mix of gurgling electronics and
Interpolations (1966) for electric guitar and magnetic tape, a rather
sparse soundscape in which random
harsh tones of the guitar collide with minimal electronic currents,
the three Spaces (1966) for magnetic tape,
the Divertimento III (1967) for clarinet, flute, bass clarinet, piano, and percussion instruments, another "uneventful" sequence of sonic events,
the multimedia cantata Alpha-Omega (1967),
Flexum (1969) for woodwinds, strings, percussion, tape and voices,
an agitated, chaotic and somewhat clownish eruption of sounds,
the multimedia piece I-10-AIFG/Rbt-1 (1968)
for horn, trombone, electric guitar, two percussionists and tape,
a more structured and sensible stream of consciousness but ruined by spoken-word segments,
the 21-minute Nacahuasu (1970) for ensemble, perhaps his most ambitious
composition but still quite poor in structure and development,
as well as two
collaborations with the mathematician Mauricio Milchberg, namely
Sialoecibi ESEPCO I (1970) for computer, piano and actor,
Cancion Sin Palabras ESEPCO II (1970) for computer, two pianists and
tape, the latter achievement a bit of dramatic pathos (that was generally
missing from Bolanos' compositions).
Peruvian Electroacoustic and Experimental Music (Pogus, 2010)
is a career retrospective.
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