ir
(2021)

After the sonnet "ir y quedarse" by Lope de Vega
For vocal quintet and tape
Commissioned by La Biennale di Venezia
Premiere: Neue Vocalsolisten. Biennale di Venezia, 26.09.2021

Live recording
photo: view of Venice

More info: en.manuelhidalgonavas.com/ir-y-quedarse

Biennale 2021 09 26 h18

For large versatile ensemble (20 players).
Commissioned by Acht Brücken - Musik in Köln and Deutscher Musikrat.

–– RETRACTED VERSION OF THE WORLD PREMIERE ––

Performed by the European Workshop for Contemporary Music, conducted by Rüdiger Bohn.

Live-recording of the world premiere at Warsaw Autumn Festival 2021 on Sept 24th 2021, at Frederic Chopin University of Music. Sound engineers: Jacek Guzowski & Krzysztof Kuraszkiewicz, MUSICON

✶ ✶ ✶

By the sea, by the dreary, night-colored sea,
A young man stands;
His heart full of anguish, his head full of doubts,
And with pale lips he questions the billows:
(H. Heine, Questions, from: Book of Songs, 1826)

Stars shining bright above you
Night breezes seem to whisper "I love you"
Birds singing in the sycamore tree
Dream a little dream of me
(Gus Kahn, Dream a little dream of me)

… now it has happened. Nothing more. Just this, and in this way—now it has happened. If I should try to explain it, it means that that happening which gave rise to my cry has only now, with the rejoinder, really and undoubtedly happened.
(Original Remembrance, from: Dialogue, 1929, Martin Buber)

The two Voyager spacecraft are bound for the stars. Affixed to each is a gold-plated copper phonograph record with a cartridge and stylus and, on the aluminum record jacket, instructions for use. We sent something about our genes, something about our brains, and something about our libraries to other beings who might sail the sea of interstellar space. But we didn’t want to send primarily scientific information. […] Instead we wanted to tell those other beings something about what seems unique about ourselves.
(Carl Sagan, Cosmos, 1980) 

“Oh solve me the riddle of Life,
The torturing, deathless riddle
Which has cracked so many heads, […]
Poor, perspiring heads of people—
Tell me, what is Man? And what's his meaning?
Where does he come from? Where is he going?
Who dwells up there among the golden stars?”

Say "Night-ie night" and kiss me
Just hold me tight and tell me you'll miss me
While I'm alone and blue as can be
Dream a little dream of me

But now something happened with me. As though I had till now had no other access from the world to sensation save that of the ear and now discovered myself as a being simply equipped with senses, both those clothed in the bodily organs and the naked senses, so I exposed myself to the distance, open to all sensation and perception. 

Although the recipients may not know any languages of the Earth, we included greetings in sixty human tongues, as well as the helos of the humpback whales. We sent photographs of humans from all over the world caring for one another, learning, fabricating tools and art and responding to challenges. There is an hour and a half of exquisite music from many cultures, some of it expressing our sense of cosmic loneliness, our wish to end our isolation, our longing to make contact with other beings in the Cosmos.

Stars fading, but I linger on, dear
Still craving your kiss
I'm longing to linger till dawn, dear
Just saying this

The billows are whispering their eternal whispers.
The wind blows on, the clouds go sailing;
The stars keep twinkling, indifferent and cold.
And a fool waits for his answer.

[…] But the Voyager record is on its way out of the solar system. The erosion in interstellar space – chiefly cosmic rays and impacting dust grains—is so slow that the information on the record will last a billion years. Genes and brains and books encode information differently and persist thorugh time at different rates. But the persistence of the memory of the human species will be far longer in the impressed metal grooves on the Voyager interstellar record.

And then, not from a distance but from the air round about me, noiselessly, came the answer. Really it did not come; it was there. 
It had been there—so I may explain it—even before my cry: there it was, and now, when I laid myself open to it, 
it let itself be received by me.

craving your kiss (2020) // European Workshop for Contemporary Music [RETRACTED]

Quatuor Diotima
IRCAM
Serge Lemouton, RIM

Here, Not There (2007 - 09)

Piece for symphonic orchestra performed by Orchestre Philharmonique de Nice, conducted by Marko Letonja.

score published by Le Chant du Monde - Wise Music Classical here => https://www.wisemusicclassical.com/work/61300/Fabula--Daniel-D%27Adamo/

Daniel D'Adamo, composer
- 2020 -

D'Adamo - Fabula - 2020 - Orchestre Philharmonique de Nice, dir. Marko Letonja

2021.11.12 CNSMDP, France
Ensemble Intercontemporain + DAIC du CNSMDP
Direction : Léo Margue

Clarinette : Takahiro Katayama
Clarinette Basse : Alain Billard
Trombone : Maxime Col
Percussion : Gilles Durot
Piano : Chisato Taniguchi
Violon : Jeanne-Marie Conquer
Alto : Paul-Julien Quillier
Violoncelle : Eric-Maria Couturier
Contrebasse : Nicolas Crosse

Saï-saï pour ensemble

First prize Grand prix Russolo 2017
First prize Fundation Destellos 2018
Laureats GRM Multiphonies, 2017
First prize Competition international citta di udine 2018
First prize  Fondo nacional de las artes  2017
Prix Exhibitronic à Strasbourg 2017

La obra pone en manifiesto el periplo de una maquina incógnita concebida como un multi-objeto. Lo curioso es que el viaje de esta maquina sucede atraves de diferentes capas pertenecientes a una estratigrafía imaginaria, es decir que va perforando y explorando los recovecos ocultos de la imaginación. La maquina funciona como un leitmotiv que articula las distintas secciones . La estructura de la obra esta sujeta al periplo anteriormente mencionado. Desde el comienzo hasta el minuto 5  ́ 25  ́ ́ se transita por cuatro estratos, y es a partir de aquí , que emerge el quinto y ultimo estadio, como un ensueño al que se le reserva la mayor profundidad en el espacio interno de toda la obra, en analogía a la zona de mayor profundidad de nuestra imaginación. Luego de esta sección, un rallentando anuncia el retorno a la realidad. El motor de la maquina se detiene en el final de la obra.

La machinerie d'un imaginaire

Titanium belongs to a group of four works that are inspired by elements of nature. Each of these pieces is related to the characteristics of the elements by which it is inspired. 
Titanium is a bright metal with low density and high strength and ductility. It is also corrosion resistant and has high temperature resistance. Its name is inspired by the Titans of Greek mythology.

Titanium

work for 8 channel.

The conception of this work is based on capturing the moment before of a catastrophe. Develop that instant, expand it into a fiction of multiple temporal and spatial folds. Sounds of explosions, crowds, whispers, alarms and machines are organized in a narrative as violent as dreamlike. A voice, sometimes human and sometimes robotic, emits numbers. At first, the numbers do not seem to be incisive, but little by little they introduce their semantic value that resignifies listening. The poetics, the gesture and the games of reliefs in perspective (profundity of the internal space )are fundamental concepts in my work.

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La concepción de esta obra se basa en capturar el instante anterior a una catástrofe.  Desarrollar ese instante, expandirlo en una ficción de múltiples pliegues temporales y espaciales. Sonidos de explosiones, multitudes, susurros, alarmas y máquinas se organizan en una narrativa tan violenta como ensoñada. Una voz, a veces humana y otras veces robótica, emite números, al principio, los números no parecen ser incisivos, pero poco a poco introducen su valor semántico que  resignfican  la escucha.  La poética , el gesto y  el espacio interno como perspectiva  en profundidad (relieve) son conceptos fundamentales en mi  trabajo.

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...is coming ( Stereo reduction)

SEGEL for orchestra (2016-17)

Commissioned by  Ensamble Intercolor.

Composer by Damián Gorandi

Interpretation  by Ensemble Intercolor :
Aleksandra Dzenisenia – cymbalum
Kasumi Higurashi – violon
Helena Sousa Estevez – accordéon
Yui Sakagoshi – saxophones
Léa Castello – Bass clarinet

Organized by Musiques Éclatées

Recording  by Paul Clouvel

Auditorium du MAMCS Musée d’Art Moderne

Review-Geneviève Charras

"Dark Virtue"nouvelle pièce (création mondiale) fait le ménage sur le plateau: on change d'instruments, on se prépare à l'émotion de la nouveauté, sans filet !
Lente respiration de tous en prologue, introduction entrecoupée de sons du quotidien, manipulés, transformés, transposés en mutation. L'accordéon en éventail, étiré à souhait: l'atmosphère est froide, métallique, distante. Des sons d'usine, de réverbération de grands espaces de friches industrielles abandonnées...Intrigante composition.Suspens...Les sons  s'y répètent, en va et vient conducteurs, glissements, dérapages contrôlés, inclinaisons vertigineuses des sonorités. Le cymbalum inquiète, très présent, menaçant; les autres instruments bruissent à l'unisson, miaulent, sirènes obsédantes, horloge soudaine pour rapatrier l'attention !
Le vrombissement des vents, du tuba, enfourché avec symbiose par Yui Sagagoshi, frêle et fragile créature diaphane mais très solide pour autant, inquiète.Eclats et renforts sonores pour un tohu-bohu savant, pétarade, sifflets de machinerie infernale de science fiction !
Des assauts violents, virulents d'une marée, bourrasque déferlante, taquinent l'ambiance: une accalmie se profile, riche de timbres explorant les vibrations des instruments.

Dark Virtue(for five instrument)

ATTAN’DATTE - 在ったんだって (2020)

Damián Gorandi (Argentinean, born in 1991). He has finished his master in composition at the Conservatoire National Supérieur de Musique et de Danse de Paris in the class of Stefano Gervasoni. He attended the CURSUS IRCAM  in Composition and in Computer Music in Paris. 


Also, he has finished his higher studies of composition at the Haute école des arts du Rhin Strasbourg. He studied electroacoustic music at the Hochschule für Musik Franz Liszt Weimar, Germany. In Argentina he obtained the superior title of professor in composition at the Alberto Ginastera Conservatory. 


He has worked with instrumental ensembles such as Ensemble Intercontemporain, Klangforum Wien, Moscow Contemporary Music Ensemble, Accroche Note, Ensemble Next, Ensemble L'Imaginaire, Ensemble Platyplus, Ensemble Names, the Untref string quartet, the Barcelona Modern Ensemble, Ensemble Fractals, Ensemble Synaesthesis, Ensemble Intercolor,  Ensemble arthaus, among others.


His music is frequently programmed in Europe, North and South America and Asia in festivals as Manifeste (Paris), Festival Présence (Paris), Festival Musica (Strasbourg), Festival Impuls (Vienne/Graz),National Philharmonic of Moscow, Next generation at the ZKM (Germany), the Festival Nycemf in New York, the Festival Crossroads Mozarteum (Vienne), Samplers Series (L’auditori, Barcelona), in the CCK (Buenos Aires), Seoul International Computer Music Festiva (Korea), Le festival Arsmondo organized by L'Opéra national du Rhin, Among, others.


He has followed the teachings of Stefano Gervasoni, Luis Naon, Yan Maresz, Daniel D'Adamo, Tom Mays, Jorge Sad, Elsa Justel, Robin Minard, Joao Pedro Oliveira, Thierry de Mey.


He has won many international prizes, some of them like the international impuls composition competition, Ina-GRM - Concours Banc d'Essai, 1st Prix Internationale Sommerakademie Universität für Musik und darstellende Kunst Wien 2018, 1 ̊ Prize Taukay Edizioni Musicali international composition competition, the 1 ̊  Prize Russolo,  Prix foundation Salabert, International prix Ibermusicas. 1 ̊ prize of the Fundation Destellos, 1 ̊ prize KLANG! International Composition, 1 ̊ prize in the international competitions of the University of Music FRANZ LISZT Weimar, 2 ̊ prize in the international competition Via nova contemporary music Thüringen, among others. From Argentina he won the 1 ̊ Sadaic prize,    1 ̊ Trinac prize (2016 and 2017), The prix "Juan carlos Paz", 1 ̊ Triarg Prize, among others. 


He has been invited as judge in several international competitions such as the competition of Fundation Destellos or the Iannis Xenakis International Electronic Music Competition (Aristotle University of Thessaloniki). As professor has been invited by the Haute école des arts de Berne to give courses and lessons in composition. 


He received the support of Gisela Timmermann grant from the Mozarteum Argentino, from Ibermusicas, from the Conservatoire de Strasbourg after winning the Notoriety scholarship from fondation de France, and also from Cité internationale universitaire de Paris.


Professor of computer music at the conservatory  of Beauvais (France).
Member of the Destellos foundation.

Dark Virtue(for five instrument)

Damian Gorandi

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