Please read ONLY ONE of the following:

1. In quantum chromodynamics, color confinement is the phenomenon that color-charged particles (such as quarks and gluons) cannot be isolated, and therefore cannot be directly observed in normal conditions below the Hagedorn temperature of approximately 2 terakelvin. The phenomenon can be understood qualitatively by noting that the force-carrying gluons of QCD have color charge, unlike the photons of quantum electrodynamics. Whereas the electric field between electrically charged particles decreases rapidly as those particles are separated, the gluon field between a pair of color charges forms a narrow flux tube (or string) between them. Because of this behavior of the gluon field, the strong force between the particles is constant regardless of their separation. Therefore, as two color charges are separated, at some point it becomes energetically favorable for a new quark–antiquark pair to appear, rather than extending the tube further. As a result of this, when quarks are produced in particle accelerators, instead of seeing the individual quarks in detectors, scientists see "jets" of many color-neutral particles clustered together.
-Wikipedia 

(OR)

2. What overwhelms is not the meaninglessness of the universe, but the coexistence of an apparent meaninglessness with the astonishing interconnectedness of things.
-Brian Phillips, Lost Highway

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Performed by Ludovico Ensemble
Aliana de la Guardia, Soprano
Sarah Brady, Flute
Rane Moore, Clarinet
Gabriela Diaz, Violin
David Russell, Cello
Yoko Hagino, Piano
Nick Tolle, Percussion
Jeffrey Means, Conductor

Recorded and Mixed by Jeffrey Means
Mastered by Todd Kitchen

Soprasymmetry II

Memling Echo (2024) for 11 musicians

Commissioned by Stad Brugge  -  Musea Brugge
Coproduction by Concertgebouw Brugge

The piece will be part of "Closer to Memling" (Musea Brugge) and will be played at the attic floor of the “Museum Sint-Janshospitaal” for 5 upcoming years. (2024-2029)

Opening: 10/12/2024

Recorded in July 2024 by:

Lore Binon (voice)
Lieselot De Wilde (voice)
Spectra Ensemble 
(Tille Van Gastel, bass flute; Nico Couck, guitar; Anne Zeuwts, harp; Bjorn Denys, percussion; Bram Boussier, viola; Francis Mourey, violoncello) 
ClubMédieval 
(Katelijne Lanneau, tenor recorder; Michael Grébil; plectrum lute; Thomas Baeté, viola d’arco)

Conductor: Filip Rathé
Sound Engineer: Brecht Beuselinck

Memling Echo (11 musicians)

para clarinetes (clarinete en SIb y clarinete contrabajo) y contrabajo

Eduardo Spinelli: clarinetes
Gustavo Aiziczon: contrabajo

Grabación del estreno el 25 de noviembre de 2022
en la Sala Farina, Ciudad de las Artes, Córdoba

Mezclado y masterizado por juampidicesare en Las Gracias estudio
——————-////———————
@jmpdcsr @lasgraciasaudioestudio

Dique (2018)

Boca di piedra is the first piece of a series based on poems from Clarisse Nicoïdsky , from the book "La culor dil tiempu" . 

I've composed this piece in close collaboration with  extraordinary musicians Sachika Ito and Diego Montes, during the pandemia.
The work was commissioned by Gonzalo Biffarella for Viajero Inmóvil Experimental Label together with works by renowned argentine composers for the album Distantes/Cercanías  that can be listened here :

https://viajeroinmovilexprimental.bandcamp.com/album/distantes-cercan-as-distantes-cercan-as-2022-2024

Boca Di Piedra, for voice, bass clarinet and electronics

El apunamiento, mal de altura, suruqchi o mal de la montaña suele afectar a quienes viajan desde una zona baja a otra por encima de los 2500 metros de altitud en muy poco tiempo, sin darle tiempo al cuerpo para adaptarse. Entonces hay confusión, mareos, dolor de cabeza, náuseas, agotamiento y/o taquicardia. Los recuerdos se entreveran, los sonidos se entrelazan y, como en el cuento “La noche boca arriba” de Julio Cortázar, dos diferentes planos de realidad se mezclan. No es posible discernir cuál de todos ellos es el verdadero y cuáles podrían ser sueños o alucinaciones. “Soroche” fue estrenada el 19 de octubre de 2024 en el concierto con las obras seleccionadas en la convocatoria del Festival Mujeres/+s en la Música Nueva en Bogotá de ese año.

Soroche

Soroche - Marcela Laura Perrone 2024

Hexagonal Labyrinths II is an electroacoustic piece based on manipulations of the original piece Hexagonal Labyrinths.  Hexagonal Labyrinths is so named because of its use of hexachords to create a murky sense of disorientation. I imagine one being lost in a giant hexagonally shaped labyrinthine forest, searching for the exit, yet mesmerized by the scenic tranquility of what surrounds. 

Technically, the piece revolves around the use of a recursive six-element Klumpenhouwer Network (or K-net) which guides the harmonic selections of the work. I find K-nets to be a good post-tonal go-between that offers neither the stifling rigidity of a tone row, nor the laissez-faire arbitrariness of completely free post-tonality. 

This piece was performed and recorded by  the __________ experiment, a fantastic ensemble. 


Hexagonal Labyrinths II

Concrète [Lab] Ensemble

Teresa Costa - flute
Tiago Mourato - clarinet
Pedro Rolo - trombone
Gonçalo Flores - percussions
Rui C. Antunes - violin
Pedro do Carmo - cello
Raquel Leite - double bass

João Quinteiro - conductor

Live recorded on July 31st 2024, Miso Music Portugal, O'culto da Ajuda, Lisbon (PT) 

Mining waste (macchina inutile n.5) (2024) - for ensemble

Miranda Cuckson, solo Violin 

Barry Crawford, flute; 
Benjamin Fingland, clarinet; 
Jenny Ney, horn; 
Jeff Missal, trumpet; 
Mike Lormand, trombone; 
Steve Beck, piano; 
Mike Truesdell, percussion; 
Adda Kridler, violin;
 Liuh-Wen Ting and Louise Schulman, violas; 
Joshua Gordon and John Popham, violoncellos;
Greg Chudzik, contrabass.

Conductor: James Baker

Wellesley, Summer 2017

Capriccio, for Violin and thirteen instruments (2017)

Sharon Harms, soprano
The Composers Conference Faculty Ensemble
Jim Baker, conductor

Maple Sweet (a ditty)

Arlington (a hymn)

The Gallant Victory (a shanty)

Compositor argentino/
Argentinian composer

Born in Buenos Aires and initially self-taught, Diego Tedesco (b. 1974) went on to formally study piano, violin, guitar and music theory. His composition teachers were Julio Viera, with whom he also studied counterpoint, harmony and orchestration, and Francisco Kröpfl, who also taught him musical analysis. At the same time, he studied fine arts and graphic design at the University of Buenos Aires. He gained recognition as a composer in 2007 when he was awarded the first prize at the Juan Carlos Paz competition (Argentina’s National Endowment for the Arts) for his work for two choirs, “Amor constante más allá de la muerte” (Constant Love Beyond Death). He has received numerous commissions and won a grant from Argentina’s National Endowment for the Arts in 2011. He was granted with the Stefan Kaske fellowship in the Composers Conference at Wellesley College in 2014 and in the same year won the second place in the most important prize in his country, the “National Award” for Symphonic and Chamber music. In 2016 was premiered his first opera, El Fiord, commissioned by the Teatro Colón of Buenos Aires. In 2017 he attended to the Composers conference for second time and won the renowned Koussevitzky Foundation music award. In 2018 he was granted by the Williams Foundation. His Capriccio was the recipient of two prizes, the Juan Carlos Paz prize (2018) and the National Council of Music, Unesco (2019). He attended to seminars with Mario Davidovsky, Jorge Rotter, Augusta Read Thomas, Steven Mackey, Yu Hui Chang, Eric Wubbels among others. 

His works have been performed in music venues in Argentina, the U.S. and Europe by renowned soloists and ensembles like Patricia García, Victor Torres, Dan Lippel, Miranda Cuckson, Lois Martin, Molly Morkoski, Nunc, Bracelet, New York New Music Ensemble, Compañía Oblicua, Counter)induction, KlangKonzepte, Conference Ensemble and Plural ensemble among others. 



Prizes:

https://www.loc.gov/item/prn-17-147/librarys-koussevitzky-foundation-announces-commission-winners/2017-10-18/

https://www.flickr.com/photos/culturaargentina/15576291890

https://fnartes.gob.ar/novedades/se-anunciaron-los-ganadores-del-concurso-de-obra-en-composicion-premio-juan-carlos-paz

Press:

https://www.nytimes.com/2016/01/22/arts/music/classical-music-listings-for-jan-22-28.html

https://www.clarin.com/espectaculos/musica/estilizado-bestiario_0_SkA3cssF.html

https://www.lanacion.com.ar/espectaculos/maquina-lamborghini-nid1928405

https://www.clarin.com/musica/orquesta-amigos-nueva-musica_0_ry7Z_4khvQx.html

Some programs:

http://nuncmusic.org/january-24-concert-at-national-sawdust/

https://avantmusicnews.com/2016/01/05/nunc-at-national-sawdust-in-brooklyn/

https://www.as-coa.org/events/concert-new-york-new-music-ensemble

http://leagueofcomposers.org/blog/2016/9/25/lois-martin-new-music-for-viola

https://www.contrapunto-fbbva.es/wp-content/uploads/2018/02/PROGRAMA-DE-MANO-CONCIERTO-RETRATO-IV-21-DE-FEBRERO-DE-2018-2.pdf

https://complejoteatral.gob.ar/ver/concierto_XII

https://www.fundacionwilliams.org.ar/wp-content/uploads/Programa-FNOBA.pdf

https://docplayer.es/11245114-Musica-contemporanea-de-espana-y-de-hispanoamerica.html

Other links:

https://www.babelscores.com/es/DiegoTedesco

https://www.newmusicusa.org/profile/americassocietynynme/

https://newfocusrecordings.bandcamp.com/album/against-method

http://www.cck.gob.ar/eventos/como-y-que-escuchan-los-que-hacen-musica-ignacio-bartolone-y-diego-tedesco_1391

Capriccio, for Violin and thirteen instruments (2017)

Diego Tedesco

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