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)
Category Archives: Ensemble Final
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
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
ONSET TRANSIENT PREFIX
for 13 instruments
2021
A textural trip to the microscopy of gesture. A sibling of Syncrofonita
Premiered by ensemble Phoenix Basel @Gare du Nord
BOX OF INSTANTS
for flute, baritone saxophone, keyboards, e-drums, sampler & modular synth
2021 – 22
Informed by reflections about consumption of technology: built-in obsolescence of the technological goods, the saturation of the market of apps and their specificity; This piece brings musical reflection on those subjects through analogies with sound objects, conceived as minute sound structures with particular spectral qualities and gestural features that interact in the local level. The principle of accumulation rules the assembly logic of these objects. The sounds become links of different chains that overlap, generating accumulations of variable densities. The sound information given by each sound objects to the audience loses its individual meaning and it will become part of a mass, competing with with other objects for the attention of the spectator.
commissioned by ensemble Inverspace
THE MESMERISING SOUND OF ACCUMULATION 1 – 2
for hybrid percussion and ensemble
2020/21
It is a look stripped of nostalgia that exposes the cult to the ephemeral, the codes of entertainment and the fragmented and synthetic interpretation of the history of music. Through different simplistic labels, the “eighties” sound of a drum is linked to a synthesiser chord, followed by a distorted guitar troggering reminiscences of different sub-genres. Sequences of references forming a dense and colourful texture. Through a dysfunctional mechanism, the piece underlines the characteristics of accumulation and the delightful vertigo proposed by the entertainment industry.
in collaboration with Roberto Maqueda
Version 1 for hybrid Drumset, turntable, E-guitar, Keyboard, Trombone, Cello
Version 2 for hybrid Drumset, turntable, E-guitar, Keyboard, Bass Clarinet, Violin, Cello
SONAR
2005 – 06
for Ensemble
Written for Córdoba Ensemble. Conductor, J.C. Tolosa
Premiered by David Núñez at IV Festival Internacional de Música Contemporánea, Córdoba, Argentina
NO HAY BANDA
For flute, oboe, clarinet Bb and playback
2007/08
Written for suono mobile
This piece is a mirror labyrinth. A journey through a topographic sound structure of forking paths.