https://www.youtube.com/watch?v=CnyxuHPqaio&t=11s&ab_channel=CarolinaCarrizo

https://www.youtube.com/watch?v=CnyxuHPqaio&t=11s&ab_channel=CarolinaCarrizo

Intérpretes:
Flauta: Ivan Bushuev
Clarinete Bajo en Si b: Oleg Tantsov
Integrantes del Moscow Contemporary Music Ensemble (MCME) - Rusia

Texto: Susana Thénon (Traducción Ana Clara Hipperdinger)
Composición: Carolina Carrizo

Obra compuesta para International Young Composers Academy Tchaikovsky City (Rusia) 2020

Por Qué Grita  Para Flauta Y Clarinete Bajo En Si B Carolina Carrizo 2020

La silente góndola (2018) flauta contralto/flauta baja, clarinete bajo, violín, viola, violonchelo y piano. / Alto Flute/Bass Flute, Bassclarinet, Violin, Viola, Cello and Piano. Ensemble Aventure,

Sobre la Lúgubre góndola de Franz Liszt / On the Lugubre Gondola by Franz Liszt.

La silente góndola

Retratos de al-Fayyūm (2021)
for amplified bass flute, prerecorded flutes and electronics
Richard Craig, bass flute

Premiere. Live recording at Music Current (Ireland, 2021)

Retratos de al-Fayyūm (2021)

Se Le Nuvole - 2022/2023
for orchestra  commissioned by Orchestra Sinfonica Nazionale della Rai
with the support by Fondation Mica et Francis Salabert
10.02.23 – world premiere
 Rai Nuova Musica 2023 
Auditorium Arturo Toscanini, Torino 
Orchestra Sinfonica Nazionale della Rai, Marco Angius (conductor)

Se Le Nuvole, orchestra - 2022/2023

Solastalgia for bass flute, bass clarinet, baritone saxophone, percussion, piano and electronics

Spółdzielnia Muzyczna Contemporary Ensemble:
Małgorzata Mikulska - bass flute
Tomasz Sowa - bass clarinet
Krzysztof Guńka - baritone saxophone
Aleksander Wnuk percussion
Martyna Zakrzewska piano

„Festiwal Prawykonań”( Festival of Premiers) at the NOSPR (National Polish Radio Symphony Orchestra).
12th March 2023 Katowice (Poland)

Audio: Polish Radio
Video: Matuesz Różański

Solastalgia for bass flute, bass clarinet, baritone saxophone, percussion, piano and electronics

for contrabass solo

Dario Calderone, contrabass
live recording, la Biennale di Venezia 2014

Docile ascesa

Natalia Solomonoff. Humus (2009), para flauta, arpa, violoncello y acordeón. 
Intérpretes: Ensemble Reflexion K (Alemania)

Humus (2009)

Video: https://youtu.be/IydYOyJmGrk

Alessandro Perini - "N-S" (2017)
for cello, piano and tape

• Francesco Dillon, cello
• Emanuele Torquati, piano

From the concert "Distant Voices, Malmö"

May 5th, 2017 - Inter Arts Center, Malmö (Sweden)

Curated by Hertzbreakerz

In collaboration with Ars Nova, with the support of Konstnärsnämnden and Längmanska Kulturfonden

http://alessandroperini.com/?p=1193

"N-S" for cello, piano and tape (Francesco Dillon / Emanuele Torquati), 2017

Phalanges, for Harp solo (1995) - program notes
The title "Phalanges" refers to the fingers' bones, the very skeleton of the player, the subcutaneous motor skills that underlie the act of playing/touching the strings. Compositionally, there are three main ideas that intersperse in this piece:
1) The ergonomic or motoric one, referring to the way the hands accommodate the technical demands of the instrument; 
2)The Rhythmic ‘sculpting,’ referring to the interaction of complex rhythms and the use of my system of Micro-Metric Modulation, a mathematical way to link very complex rhythms/ratios through common denominators speeds; 
3)The use of extended-techniques dividing the harp into three different sonic regions in which the middle one employs a cloth/paper that mutes the pitches subsequently creating a kind of timbral asymmetry in the sonic presentation of the instrument.
First, the ergonomic aspect: the creation of motives and themes in this piece are a direct result of the very patterns of the player's hands/fingers. New sonic material emerges as a result of the dislocation of the hands throughout the harp. This is accomplished in two ways: a) When the harpist stretches hands widening or contracting the gaps between fingers while maintaining similar fingerings’ patterns - thus, creating small melodic distortions; b) Through the mere pedal- retuning of the strings providing a diverse melodic or harmonic contour for similar hands' patterns; Even if the fingers’ patterns are not “thematically audible,” (since they only refer to the techniques that propel the sounds) they acquire, nevertheless, the status of "articulatory themes" being as important as the audible ones.
Second, using a mathematical way to mediate between two adjacent rhythms through a system I developed called Micro-Metric Modulation. Although complex rhythms can be very demanding to execute it is possible to imagine an effective rhythmic bridge that is common to two adjacent and differing rhythms or ratio configurations. This approach is based on commutative and associative properties and is derived from Elliott Carter’s polyrhythmic ideas, but in a “compressed” way. It is fully developed on my Doctoral Thesis from 1997-8 (Micro Metric Modulation: New Directions in the Theory of Complex Rhythms), although uses of it on my own music are anterior to the thesis itself).
Third, employing a series of devices (paper between strings, tuning fork, constant pedal glissandi, half-pedal “buzz” sounds, etc.) I managed to destabilize the typical way of playing the instrument and the way it is commonly heard. More than seeking mere effects, I was “seeing” the instrument as a sonic (found-)object that could be “subjected” to different types of timbristic and ergonomic demands. Finally, studying the way the instrument behaves under certain rhythmic constraints it was possible to manipulate with similar flexibility pitch and noise (extended-techniques) zones. The theatrical aspect of Phalanges conveys its deep meaning: Navigating between the fingers' technical demands and its almost magic output (the music itself) the harpist questions the public with a bleak and distancing (‘Brechtnian’) look, as if saying, - “...where does music begin? And where it ends...?”
© Arthur Kampela 2014

Phallanges For Harp Solo (Performed live by Anne Bassande Zurich, 1995)

Convex (2019-2020) 
for large ensemble of 13 players

Flute (Alto Flute, Piccolo)
Oboe (Cor Anglais)
Clarinet in Bb (Bass Clarinet)
Alto Saxophone (Baritone Saxophone) 
Horn in F
Harp
Percussion1
Percussion 2
Piano
Violin I 
Viol II 
Viola 
Violoncello

composed for Grossman Ensemble 

Program note:
The uncanny secret about the experience of falling apart is
 that one can—even if only for seconds—capture the image
 of the day just the way light is broken up into a hundred
 shattered shades and bended hues when it passes through
 a prism.

Grossman 20200312 vs 0501

Convex (2019-2020)

"Tres miniaturas para viola sola" (2018)
Patricia E. Bantar
Viola: José Benítez
Movimiento Pu Joa/ 6° Jornadas de Música Nueva
Asunción, Paraguay/ Agosto 2019
Grabación en vivo

Tres Miniaturas Para Viola Sola (2018)

Carolina Carrizo - 1986- La Plata, Buenos Aires, Argentina.
https://carolinacarrizocompositora.wordpress.com/

Por Qué Grita Para Flauta Y Clarinete Bajo En Si B Carolina Carrizo 2020

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