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BI – [bismuth]

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

SYNCROFONITA

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.

CORTEX

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.

ESCALA

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…

ANTENA

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.

DWARF MOUNTAIN

for Bass/Piccolo Flute – Soprano/Contrabass Clarinet, prepared Harp, Percussion + vst instruments and sample
2017

Based on Argentinian Alberto Laiseca’s short story Contemplación del Gran Madero, in which a general in the East learned to meditate by observing a small, wooden cube in a sand garden in his studio. Meditating, he imagined that his army came across a large structure of the same shape, wondering if it was natural or man-made, trying to understand what it could be.

premiered by Ensemble Adapter

DROP OF MERCURY

for two saxophones and electronic intermissions
2018

Four ambiences projected from the shiny inside of the saxophone tube. A vague connection keeps them together between the sudden drops of mercury

Written for Patrick Stadler and Geoffrey Landman duo

audio coming soon…

AMOEBA

For two performers, amplified objects, microscopes, electronics and video
2018

Amoeba is a throbbing texture, densely populated by communities of audiovisual microorganisms, that spread through the space of the venue. By walking through this structure the audience submerges in the “micro-dramaturgie” of ephemeral gestures that overlap, leak, repel, or merge into each other, forming altogether a thick, complex polyphony ever changing in the small details. Thus the attendants become “dynamic receptors” which modulate their individual experiences by collecting the details of the given totality. The piece is multimodal environment in which the audience, the space, images, electronic sounds and concrete materials were merged into a single unity. It is about the meticulous observation of simple movements, zooming into the complexities of a living organism.

site specific & concert version dur. 45′
Published on vinyl and digital by Total Silence Cologne

In collaboration with reConvert project
Visuals by Ramiro Iturrioz
Masks by Flor Balbis

Excerpt of the concert version, Rotterdam – 2018

THE ULTIMATE DISTRACTION

For Flute/picc, Clarinet Bb/Bass, Percussion + Sampler, Piano/Keyboard, E-guitar, Violin and Cello 2019

The ultimate distraction usually refers to the latest developments in gadgets whose function is passive entertainment and ephemeral durability. These accessories are governed by the transience of the market, which constantly replace or update them, rewarding their users with an experience of permanent distraction.

Commissioned by Centro de Experimentación del Teatro Colón. (Cetc)
Written for Tropi Ensemble