Javier Rodriguez needs no introduction. He is a renowned composer, soundtrack creator, and pianist whose music has been featured in TV and social media campaigns for well-known brands such as Budweiser and Carlsberg, as well as international institutions including the United Nations and the European Union. He has also been responsible for creating original soundtracks for a variety of European, Asian, and American films.
Born in Spain, Rodriguez trained under the legendary pianist Rafael Orozco before launching his career spanning across major European stages, acclaimed film scores, and all sorts of celebrated collaborations. A two-time Tony Award and Spirit Independent Award nominee, he continues to strive for excellence in the music world.
With his latest release, ‘Zaha, the Magic Curve,’ Rodriguez is bringing to audiences everywhere a truly dazzling piece of music that breaks down borders and boundaries with just its sheer originality alone.
The EP is pays ode to Zaha Hadid, easily one of the most influential architects of the late 20th and early 21st centuries. Born in Baghdad, Iraq, she became known for her bold and fluid designs that incorporate futuristic elements, characterized by sweeping curves and innovative uses of geometry. In 2004, she made history by becoming the first woman to receive the Pritzker Architecture Prize, architecture’s highest honor. In an industry mostly dominated by men, Hadid has made a name for herself. Her architectural firm, Zaha Hadid Architects in London, continues her legacy to this day.
On the EP cover, the words ‘A Contemporary Ballet’ are in parentheses and in the subtitle, it says that this is a ‘Ballet in 5 Acts.’ Interestingly, Rodriguez envisioned this EP as a ballet. It also makes a lot of sense because Hadid’s smooth and fluid designs are known for their free forms and movements, and dedicating a ballet in 5 acts to her makes a fitting tribute to her life’s work. Rodriguez also has extensive experience in this sector. As the former Musical Director of the World Ballet and a frequent collaborator with the Royal Ballet in London and the Cuban National Ballet, he lends his ballet scoring expertise on this EP as well.
Mainly an instrumental record, it consists of Edwin Grafe (sarangi, cello, and voice), Javier “Peke” Rodriguez (piano, hang drum), and Gloria Petrovsky (voz, sound effects).
The moment you press play on ‘Act I. Introduction,’ a beautiful piano melody surfaces. Then the exotic sounds of the sarangi come to life and add a layered texture to the music. The somber piano melody moodily plays in the background as the Indian string instrument adds a sense of urgency to the overall sounds.
Up next is “Act II. Within The Circle,” which here features the cello. Throughout this recording, you can make out the sound of pencil on paper. It is perhaps a reenactment of Hadid sketching one of her amazing designs. The cello slowly grows in momentum, growing more and more dynamic as the music flows through. The movements of the cello sounded very fluid to my ears, and I couldn’t get enough of it.
Toward “Act III. Believing In Me,” more sounds of the sarangi underline this track as Petrovsky reenacts some reimagined inner monologue from Hadid. The narrative follows “Hadid” speaking about her ideals as a feminist. She wonders aloud if she would be called a diva if she were a guy, and makes comparisons of architecture to writing, since both require endless editing to make it seamless. Throughout the monologue, she talks about empowering women and how she thinks and dreams about architecture all the time. The sarangi accompanies these words, and I felt it added a poignant element to the overall narrative.
Following is “Act IV. Dancing With Clouds.” It includes more of the sarangi. Embedded into the recording here is Grafe’s tonal singing, which adds an edgy layer to the music. It gives an ominous and moody feel that fits into the overall movements of this 5-act ballet.
Last but not least is the aptly titled “Act V. Angels and Angles.” The cello greets listeners as the moody vibe weaves through the recording. Next, some urgent piano and more strings enter for a truly searing sound. The music builds and builds for a sweeping finish.
By the end of the EP, I couldn’t help but think that this was a stunning performance from start to finish.
SCORE/Outstanding: On ‘Zaha, the Magic Curve,’ Rodriguez manages to intersect modern architecture with feminism, ballet, and so much more. The sweeping, fluid movements of this score exemplify Hadid’s fluid and smooth designs, and this is an apt and moving homage to the trailblazing architect, who was definitely well ahead of her time. As a music lover, I was amazed by the power and momentum of this score from beginning to end. Rodriguez doesn’t just rely on classical conventional modes here. He adds a touch of modernity to the sounds. With a foot in both worlds, I can see this resonating with classical music lovers everywhere as well as enthusiasts of architecture and lovers of instrumental music overall. Javier Rodriguez has created a timeless piece of work that I’m sure will strike a chord with listeners for a very long time.
[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]
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