Percusión:
Nicolás Molina
Daniel Perea
Contrabajo:
Andrés Santamaria
Electrónica:
SergioRomán

Cuarto Eco

after W. Shakespeare's Sonnet 98

for female voice, bass clarinet and percussion

extract from the opera in progress To the Lighthouse

Frauke Burg, soprano
Markus Beer, bass clarinet
Matthias Schmidt, percussion

Recorded live at Kunsthaus Bregenz, Austria on the 11th of May, 2015 during the Einblick 1 of the Opernatelier, co-organised by Kunsthaus Bregenz and Bregenzer Festspiele.

More info: http://presse.bregenzerfestspiele.com/en/operaworkshopinsight120150512



sonnet98_fragments

Performed by Maria Flavia Cerrato
18.xi.2017
Incontri Musicalli
Montepulciano, Italy

read more: 

Let no one know
the only 'n' only howl I yowled
was for somebody to listen

Sssssh (2006)

". . . d'un archétype métallique" (2017) 
for eight instruments and electronics

Live recording
May 1st
Columbia Composers Concert series 2017
DiMenna Center for Classical Music - NYC

Talea ensemble under the baton of Jeffrey Means. 

The piece addresses the coexistence of multiple acoustic and electronic sonic entities while it explores the relationship between instrumental and sound complexity. The framework of this project takes advantage of the technology and generates an electrified sonic world that counterbalances the acoustic complexities articulated by the ensemble. Metallic sounds, idiomatic frictions, granulated textures and chaotic microtonal clouds are some of the sonic entities interacting within a dramaturgical framework of intricate sonic interconnections and electrified acoustical masses. The generalized standpoint stems from the genesis of an electrified sonic world derived from the electronic processing of acoustic sounds that behave as the sonic extension of the instrumental ensemble in a unified way – the assembly of a “sonic twin”. The emergence of gestural interactivity pointing to an idiomatic stream of sonic behaviors captures the dramaturgical framework of the piece, highlighting a network of distinguishable sonic objects all perceived in a unified sonic fabric.

". . . d'un archétype métallique" (2017), for eight instruments and diffused electronics

Duo for soprano voice and soprano saxophone, from the poem "Sous la nuit " by Alejandra Pizarnik (Argentina, 1936-1972)

Work created at Delian Academy for New Music between the 12th and 17th of June in Mykonos Greece. Composed by Jorge Vazquez Salvagno, performed by Kanae Mizobuchi (soprano voice) and Bera Romairone (soprano saxophone).


Sous la nuit 

Los ausentes soplan grismente y la noche es densa. 
La noche tiene el color de los párpados del muerto.

Huyo toda la noche, encauzo la persecución y la fuga, canto un
canto para mis males, pájaros negros sobre mortajas negras.

Grito mentalmente, me confino, me alejo de la mano crispada, 
no quiero saber otra cosa que este clamor, este resolar en la noche, 
esta errancia, este no hallarse.

Toda la noche hago la noche.

Toda la noche me abandonas lentamente como el agua cae
lentamente. Toda la noche escribo para buscar a quien me busca.

Palabra por palabra yo escribo la noche.

De "Textos de sombra y últimos poemas" 1982

Tu M’abandonnes Lentement by Jorge Vazquez Salvagno

Duo for soprano voice and soprano saxophone, from the poem "Sous la nuit " by Alejandra Pizarnik (Argentina, 1936-1972)

Work created at Delian Academy for New Music between the 12th and 17th of June in Mykonos Greece. Composed by Jorge Vazquez Salvagno, performed by Kanae Mizobuchi (soprano voice) and Bera Romairone (soprano saxophone).

Tu m’abandonnes lentement - Jorge Diego Vázquez Salvagno

"[T]he wind has its reasons. We just don't notice as we go about our lives. But then, at some point, we are made to notice. The wind envelops you with a certain purpose in mind, and it rocks you. The wind knows everything that's inside you." 
(Haruki Murakami, "Hear the Wind Sing") 

"I mean, I never thought of that. A whole 180 more degrees that I'm now responsible for. It's not just the stuff down here... she just kept looking over her shoulder... Her eyes scanning the thin sky. Like there's something wrong – with the air... And then I realized it was the same look on the faces of my neighbors... [w]hen they suddenly realized – first, that they could come from the air, and second that it would be that way from now on." 
(Laurie Anderson, "From the Air" [Heart of a Dog])

***
Composition: Ivan Chiarelli
Tenor Sax: Bera Romairone
Video: Carol Neumann (video will be made public in 2019)

The wind has its reasons

the wind has its reasons (2017-18)

~ Drops ~ (2017)
for saxophone quartet

premiered by the 
Quartet Iberosudamericano

18th World Saxophone Congress
in ACADEMY OF MUSIC Fran Lhotka Hall

The piece was initially commissioned by the association "Friends for Music" of Venaria Reale and was presented in parts by the Vagues saxophone quartet, Toniro – Italy, September 23rd, 2017.

~ Drops ~ (2017), for saxophone quartet

Live performance of Héraclite, piece composed by Alex Nante for Awkas Ensemble. 

Bern, Switzerland, October 2018.

Héraclite (2017) by Alex Nante

Live recording of the piece Feux d'arfice (d'après Miró) composed by David Hernández-Ramos for Awkas Ensemble.

Bern, Switzerland, October 2018

Feux d'artifice (2017) by David Hernández-Ramos

Febrícula: "Slight increase of corporal temperature. State previous to a fever".


Lyrics:

1 a.m. 
I cannot amend my sleep.
It feels so weird, got a hot head but
cold feet.
I really hope that this is not
THAT thing I'm thinking,
but you're right,
that previous thing sounded like shostakovich, bling bling!

See, I spent my day trying to come up nice beat,
I have to show it in my class tomorrow,
but it's incomplete.
It really has to sound neat
cause I like that class,
not like those other lame ones
that really suck so much a...(ass)

...I don't really want to complain,
but I'd rather listen to some Kurt Cobain
or an audiobook of Mark Twain.
Blame, I feel not.
Shame, maybe a little,
but it's not my fault if teachers want to 
keep me belittled.

Argh!
But I feel my head is just about to explode.
My heart is racing faster than it should.
My mind is overflown, glown, blown.
I guess I can't strode my healing process,
I'll just follow the road...



The heat keeps rising up, eternal box, 
rendering sounds that never rang, 
this state just sucks BIG TIME,
my brain is mixing all the twig rhymes,
this rap is sounding like a prig crime, 
don't mind if I'm interrupted, 
somebody save me from all this nonsense, 
my dream is clearly becoming a nightmare, 
spare me the suspense, would you?.
C'mon, my chest is bursting.
I feel a long night is coming,
I just wanted to sleep...
JUST WANTED TO SLEEP



4 a.m.
This thing does not end.
Right here, I'm tryin'a catch 
every breath that I can.
Sight-seer of all the fears 
I forgot to portend,
I'm getting really scared
this will not end up well.

Man, I just wanted to sleep long,
to be chill and happy,
but these monsters on the wall
keep popping all around me.
Although they're smiling, 
I know they want to harm me, but...

...wait...wait, did I say monsters?

Ok great, now I'm delusional.
Sleeping deprivation turned out 
to be confusional, but I knew that.
I just thought I would never get to experience that, 
let me just check what my temperature is...
...39.5!?



The heat keeps rising up, eternal box, 
rendering sounds that never rang, 
this state just sucks BIG TIME,
my brain is mixing all the twig rhymes,
this rap is sounding like a prig crime, 
don't mind if I'm interrupted,
somebody save me from all this nonsense,
my dream is clearly becoming a nightmare, 
spare me the suspense, would you?.
C'mon, my chest is bursting.
I feel a long night is coming,
I just wanted to sleep...

I JUST WANTED TO SLEEP
JUST WANTED TO SLEEP
I JUST WANTED TO SLEEP

D  A  N  C  E   !  !  !  


by Iván Orlín
a.k.a. X Lilithae

Piano performed by
Stefano Arena

Tu M’abandonnes Lentement by Jorge Vazquez Salvagno

Bera Romairone

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