Jay Campbell, multi-tracked cello, recording/mixing
excerpt from the middle of a 2 1/2 hour realization, 2020

Descensus Trio Jay's version (excerpt) 2020

The Sanctuary

Antoinette Boulevard

Interpretada el 14 de septiembre del 2022 en el Centro Cultural Constitución, en Zapopan, Jalisco. Obra compuesta durante la Cátedra Extraordinaria "Arturo Márquez de Composición Musical" 2018.

Interpreta la Orquesta Sinfónica Juvenil de Zapopan.
Rodrigo Sierra Moncayo, director.

Sigue Siendo Arena (2018) Orquesta Sinfónica Juvenil de Zapopan

"Banegård" is a single from the album "Innemuseum" by Danish composer Cisser Mæhl. 
LP out on 3rd March 2023.

Innemuseum

Cisser Mæhl – Banegård

Onda Tropical - for diatonic accordion and wind ensemble

This piece is a representation of a tropical vibe and also a tropical wave traveling all the way from to New England (where it was written) to Mexico City (composer's hometown), in an attempt to evoke a nostalgic feeling when thinking about home, and also about making new friendships away from home, through tropical music.

Performed by Abi Pak and the Dartmouth Wind Ensemble
Conductor: Brian Messier

Onda Tropical

Taken from "ultra-minimal" by Sylvain Chauveau, to be released 2nd February, 2024.

ultra-minimal

Sylvain Chauveau - mi

“En una época muy anterior a la nuestra, un hombre remojó sus dedos en agua. Sacudió el exceso y agarró una pequeña cantidad de barro para irlo formando en un tubo alrededor de un delgado trozo de carrizo. […] Junto a la masa de barro había una jícara con agua de donde el hombre que hace sonidos sacó un palito de punta plana. Se detuvo un momento, mirando a su silencioso compañero quién desde la mañana había ido a consagrar el trabajo con humo, ofrendas y palabras susurradas. El hombre que habla con los grandes tenía que dar su permiso para seguir con este paso tan importante.”

Así inicia Charles Lafayette su investigación sobre la flauta triple de Tenenexpan, publicada en una revista de la Universidad de Veracruz en 1965. En ella expone los orígenes y las capacidades musicales del instrumento. También habla sobre las necesidades estéticas que llevaron a los Totonacas a crear lo que Lafayette sugiere como “un sistema armónico” o un “código de ejecución basado en ciertas combinaciones de notas". "Skoli" es como se traduce instrumento en lengua totonaca.

De un fortuito encuentro con este articulo en internet, como me gusta imaginar que le paso al saqueador que hurtó la flauta de las tierras de Tenenexpan, surgió la inspiración para componer estas dos piezas utilizando las para nada fortuitas combinaciones de notas que los Totonacas nos dejaron y regalaron en sus "skoli" como un vestigio de su para siempre insondable y misterioso imaginario musical.

UN VESTIGIO - Interpretada por el Cuarteto Cromano.
SKOLI - Interpretada por Guillermo Castillón.

Ambas piezas grabadas por Luis Meaney.
--------------------------------------------------------------------------------
THE MAN WHO MAKES SOUNDS

"A long time ago, a man soaked his fingers in water. He shook off the excess and took a small amount of mud and formed it into a tube around a thin piece of reed. [...] Next to the mass of mud was a jar of water from which the man who makes sounds took out a flat-tipped stick. He paused for a moment, looking at his silent companion who since morning had gone to consecrate the work with smoke, offerings and whispered words. The man who talks to the great had to give his permission to go through with this important step."

Thus begins Charles Lafayette's research on the Tenenexpan triple flute, published in a journal of the University of Veracruz in 1965. In it, he explains the origins and musical capabilities of the instrument. He also discusses the aesthetic needs that led the Totonacs to create what Lafayette suggests as an "harmonic system" or a "performance code based on certain combinations of notes". "Skoli" is how instrument is translated in Totonac language.

From a fortuitous encounter with this article on the internet, as I like to imagine happened to the looter who stole the flute from the lands of Tenenexpan, came the inspiration to compose these two pieces using the not at all fortuitous combinations of notes that the Totonacs left us in their "skoli" as a vestige of their forever unknown and mysterious musical imaginary.

A VESTIGE - Performed by the Cromano Quartet.
SKOLI - Performed by Guillermo Castillón.

Both pieces recorded by Luis Meaney.

UN VESTIGIO

Recorded by JACK Quartet on February 22nd, 2018

Liquid Structures

Escaped Trees - Approach To The Snow Queen Part IV
\\\\ Electronic \Psychodelic \Soundscape\ Ambient \Witch-house\ Neo-kraut\ Minimal

Escaped Trees - Approach To The Snow Queen Part IV

…like many surfaces of an attempt, for Schallfeld ensemble (2018)

impuls Minutenkonzerte
esc kunst medien labor Graz
May 26th 2018 

Schallfeld ensemble: 
Myriam García Fidalgo violoncello 
Matej Bunderla saxophone
Szilárd Benes bass clarinet 
Juan Pablo Trad Hasbun double bass 
Davide Gagliardi sound

Program notes:
This piece is about the distance between musical events and the difficulties posed in making connections between them. However, connections between them still somehow exist. They have to be searched for, invented, discovered. There is something disturbing in that process, but also calming. In the second part of the piece I use a text that I wrote, which gives the listeners new opportunities for constructing the flow of the music and deciphering its meaning. 

Text: 

What if we meet and I fall in love?
What if we meet and we don’t like each other?
What if we meet and we like each other 
so much, that we can not 
breathe? 

What if we meet and you start to hate me?
What if we meet and you are boring to me?
What if we meet and I seem old to you?
What if we meet and you like me more?
What if we meet and I like you more?
What if we meet and you fuck me 
so hard, that I don’t wanna
talk? 

What if we meet and I don’t like your smell?
What if we meet and you’re  not impressed 
with my body?
What if we meet and you say something wrong 
something stupid 
something cruel? 
What if we meet and you scare me?
What if we meet and we don’t understand 
each other?

What if we meet and it’s raining 
so heavily
that we have to stay inside and fuck 
all the time
and hug all the time
and talk all the time?

What if we meet and it’s sunny 
so beautiful
that we have to kiss on the grass 
all the time
hide from other people all the time
smile at each other 
all the time?

What if we meet and I hate the way you smoke 
the way you walk
the way you’re touching me?

What if we meet and you don’t like my thoughts, 
my worlds, my colors of the 
rainbow?
What if we meet and we realize that we 
are two different galaxies?
What if we meet and I feel that I’m not 
enough for you?

What if we meet and it gets awkward? 
What if we meet and I get anxious?
What if we meet and you faint?
What if we meet and …? 
                ………
                ……
                 ….
What if we never meet?

Sonja Mutić

...like many surfaces of an attempt, for Schallfeld Ensemble

Mención Honorífica en el Concurso de Composición Arturo Márquez 2019.

Canción cardenche “Soy desierto”. Letra de Andrea Chamizo Alberro. Interpreta Esthibaliz Rojas.

Obra para orquesta de cámara. Estrenada el 28 de noviembre de 2019 por la Orquesta Mexicana de las Artes, David Pérez Olmedo, director. Centro Cultural Roberto Cantoral, SACM, Ciudad de México.

—

Special Mention in the 2019 Arturo Marquez Composition Contest.

Cardenche song “Soy desierto”. Lyrics by Andrea Chamizo Alberro. Performed by Esthibaliz Rojas.

Piece for chamber orchestra. Premiered on November 28th, 2019 by Mexican Orchestra of Arts, conducted by David Pérez Olmedo. Roberto Cantoral Cultural Centre, Mexico City.

UN VESTIGIO

DIEGO EDUARDO QUINTERO

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