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BUXTEHUDESCHUTZ

for Fl, Cl, Guit. and Db. after Dietrich Buxtehude’s Prelude, Fugue and Chacone in C
2009

at CDMCC concert season 2008, by EUNIC Ensemble. (commissioned by the European National Institutes for Culture)

TRAIN OF THOUGHT

for violin, accordion, tenor saxophone, percussion
2022

Trains of thought is one of the possible outcomes of a composition technique applied to collective music creation. The technique is based on a predefined lexicon of symbols that represent specific acoustic or electronic sound objects, that are developed in collaboration between the composer and the performers. These symbols are presented in a chart, accompanied by a procedure with a set of rules to play and assemble sequences. They are also arranged within a timeline, as a graphic score.

commissioned by Concept Store quartet

CONCEPTS OF FLOW

for alto saxophone, e-guitar, drums, keyboards, vocoders, autotune, sampler & synths
2022

Cycle of pieces in the threshold of experimental music and pop

I. The Image Junkies
II. Focus
III. Music for highly educated people
IV. Floppy drives lament
V. March of the tired dancers

commissioned by Y-band

Concepts of Flow @Alte Feuer Wache Köln
Les Nomades

LES NOMADES

for Ebow guitar + objects, Paetzold flute and recorders, Double Bass, live Electronics and Video

Les nomades is a flight around a sound sculpture.

Oneself.
The trace.
The thoughts. Suspended.
Those left behind.
The others.
The body.
The bagage.
The plan B
in search for
plan A.
The dream.
The flight mode.

with Ensemble Vortex
Anne Gillot, Paetzold flute and recorders
Mauricio Carrasco, e-guitar & objects
Tomás Fernández, double bass

Fernando Manassero, live electronics
Arturo Corrales, Daniel Zea, sound engineering.

The videos featured in this work are by Juan Gugger after his piece Trovants (2021)

THRESHOLD SOUND

for solo bass trombone, violin, viola, cello, accordion and electronics
2021

This piece is a free interpretation of the concept behind Charles Ives The unanswered question from 1906. The model of multi layered time and dramaturgy of Ives work serves as a conceptual framework in which this work is inscribed. This piece proposes a contemporary view of that concept, a century after, in the post capitalist era. It reflects upon the human as specie but also as individuals, part of a global society that is becoming, on the one side more and more exclusive, and in the other, more controlled and less private.
Contrary to Ives, this character poses a rhetoric question, or even makes a statement, with frustration or even desolation. The response to the question comes from the electronic part in the form of a robotic voice located nowhere. This voice seems to answer but only throws words, phonemes, sings, and plays old songs, after the trombone’s request, but it never really answer. Its presence is an irruption in the fabric of time, it is out of context, and progressively contaminates the background by distorting the instruments sound, until it swallows it completely. The third element of the piece, is the background, represented by the strings. It is meant to be a stereotyped piece of ambient music/film score. It is static, deprived of direction, slowly moving in circles around the same sounds.

commissioned by ensemble Latenz
bass Trombone, Adrián Albaladejo