for Bass Clarinet and Double Bass
2011
In this piece each instrumental line functions as a membrane that work against the other. They create a gap in between them by friction, collision and mimesis. The material translates from one instrument to the other becoming something different each turn. At times crystallizing in a homogeneous sound.
Written for Eduardo Spinelli & Gustavo Aiziczon (suono mobile)
for 8 double basses
2011
Tear it down,
burn it down
To start over
from the ashes
Like a tree
The thirteenth sheet of the Tarot stands between the invisible and the visible world. The intermediate point. It represents the death of the old, the end of a cycle and the transition to the new. It means a change. It is halfway between the letters of fortune and destruction.
Premiered by the double basses from Colon Theatre Symphony Orchestra
for 4 mixed voices, 2 contrabass flutes, electronics and video
2012
The piece relies on the logic of the dialectical relationship between presences and absences. The discourse is articulated by sound sections interleaved with separating silences, in which the potentiality of the sound is projected on the canvas and the path to reach that moment is evoked. Those silences, due to its position in the structure, are always different from the rest. The sound fragments expand and contract, in correspondence with the formal characteristics of their particles that -among their variables- burst like attacks, notes held, cut, or interrupted.Graffito evokes the dispute over a place, in which some wills struggle to leave marks and others to erase them. In this way a wall of successive layers is built. It flakes and allows the observer to notice various textures, colors, materials. Perceiving the marks of the history of that space also allows to contemplate the continuous attempts of its suppression.
Published in the CD Graffito by suono mobile argentina
for two percussionists, amplified surface and objects
2013
The work recreates one of the human most common activities: Sitting at a table. It evokes the activities of artisans, artists, meetings, and loneliness. The exploratory character of the piece is expressed in simple actions to generate complex textures from the sounds that are ripped from the surface of raw wood. Through the amplification, the tactile experience of the musicians, expands into the space of the room.
Written for reConvert project
version 1 – 2013
for amplified Oboe, Clarinet Bb and Electronics
2014/15
Bismuto develops on the circular logic of the transmutation and synthesis of its sound materials. In a stable sound discourse, the timbres of the instruments merge with each other and with the track, resulting in meticulously elaborated textures. The sections follow each other organically due to the subtle articulations, which propose an arc of continuity where the dynamics vary delicately.
In the piece the sonorities melt and solidify as it happens with the metal that inspires its name. The iridescent colors of bismuth vary according to the moment of solidification and its degree of oxidation, as well as the textures of BI [bismuto] mutate into sonorities that melt and solidify into different strata, floating and melting into an electric magma.
Written for Eduardo Spinelli and Christian Kemper – suono mobile global
for Trombone, Objects and Electronic Percussion
2016
Written for Juna Winston & Joao Pacheco
for ensemble
2016
The piece proposes an integral sound construction, in which the particles contained have no manifest priority between them, but are presented to the listener as possibilities of linkage and meaning. In this sense, the concept of “synchronicity” according to C.G. Jung is implied throughout the work: the listener is interpellated to create a meaningful coincidence between the brief sound objects. The materials are associated in constellations according to the similarity between their morphological characteristics. These groups function as uniform organisms that provide coherence to the construction of the overall structure of the work.
Syncrofonita puts active listening into focus, in which the listener is responsible for generating form from synchronicity. In this context, proximity between the particles that collide in attractive and repulsive movements, show themselves as small fleeting configurations, like cropped from homogenic density of the texture.
Written for Ensemble Líquido, premiered at CCK Buenos Aires.
For Piano and electronics
2017
Written for Rei Nakamura – movement to sound, sound to movement
Cortex displays a surface capable of hiding and uncovering sound particles. In its evolution objects are amalgamated, they arise, or sink, generating layers in which different conditions of fusion between piano and electronics are manifested. Glittering layers of texturized dry sounds in the foreground fuse into a deep resonant background to emerge in the surface with different shapes and timbers.
The particles explore the acoustic limits, with instances of total immersion, in which the crescendo gradients are interspersed with subtle materials to play with a linearity that is not logical but sensitive. The objects can be recognized individually, but they transcend their particularities thanks to the logic of the relations between them and the surface. From this operation results the tension and cohesion of the work as a whole.
for voice, 2 electric guitars + objects and sampler
2017
Written for and commissioned by Calato through FNA (National Fund for the Arts – Argentina
About the piece: compress, compress, compressss
audio coming soon…
for Alto Saxophone, prepared Vibraphone and Double bass
2017
Commissioned by Ciclo de Conciertos de Música Contemporánea de Buenos Aires
Trio: Luzardo – Navarro – Keoroglanian
In a cold and quiet night in the plains of Santa Fe you can hear the buzzing of radio transmission antennas. Out of service since the first days of cell phones, with their red lights still pulsating forever. When I was a kid I used to stay late to listen to the continuum, waiting for signals in the sky.
