Glacial Chasm — Three Visions of Ice
1. Frostbite
2. Homeostasis
3. Dark Depths

for Shô[Sheng], Accordiong, Violin, Viola and Violoncello.

Written for Ensemble Linea. Academie Voix Nouvelles Royaumont 2021. 
World Premiere.

Program Notes: 

Glacial Chasm is a personal challenge, both in aesthetic and technical terms. After a considerable amount of pieces on which I have explored ideas such as complex sounds, hybridisation and constant transformation of the qualities of sound, I have found myself in search for a different perspective on the relation between Klangfarbe, pitch and harmony. Through the reflection upon the differences in intonation between the Sheng and the rest of the ensemble, I have attempted to develop new sounds and behaviours, as if the quintet was a single synthetic instrument. These, in addition to the use of combination tones (Ring modulation, frequency modulation) applied to the pitch content of the piece, result in strong electronic reminiscences.

The piece is divided in three short fragments, each of them conceived as short time windows that look into desolate, frozen, crystallised and abstract landscapes.

Glacial Chasm — Three Visions of Ice

[to be enveloped by] BLACK (2018-19)

Five short pieces on poems and paintings by Aldo Tambellini

1. to BLⒶCK from BLⒶCK (2′)
2. BLⒶCK energy burns with fire (2′)
3. the coming to be, resonating in the echo (2′)
4. from the invisible made visible (2′)
5. perforated on a BLⒶCK slate sky (2′)

Collaboration with Radio France, “Création Mondiale” Program.

Bass Flute, Bass Clarinet, Percussion [Floor Tom, 2 Toms, Ride Cymbal, Chinese Cymbal, Tam-Tam, Thunder Sheet], Piano, Violoncello and Contrabass.

Broadcasted on "Création Mondiale", with Anne Montaron, on Radio France, from 27/05/19 to 01/06/19

https://www.francemusique.fr/emissions/creation-mondiale-l-integrale/be-enveloped-black-de-diego-jimenez-tamame-diffusion-integrale-et-portrait-du-compositeur-72438

https://www.francemusique.fr/emissions/creation-mondiale/be-enveloped-black-de-diego-jimenez-tamame-1-5-72357

[to be enveloped by] BLACK — Ensemble Multilatérale

Vaporwave, deadly lasers and crab raves (2022), for ALESIS Wireless Vortex 2, Live Electronics (Ableton Live) and Live Video (Max/MSP—Jitter)

Written for María Domínguez Pérez

Composition, live electronics and live video: Diego Jiménez Tamame
Keytar: María Domínguez Pérez
Mix and Master: Murat Çolak
Video production: Nicolae David 

Video: https://www.youtube.com/watch?v=7eWrGPJ1Cjw

World Premiere: 08/06/2022, Xornadas de Música Contemporánea de Santiago de Compostela; CGAC, Santiago de Compostela, Spain.

Text:

Hello everyone! This is your Daily Dose of Internet!

[vocoded] In retrospect, the Vaporwave aesthetic was somewhat limited

Real world, human-to-human tactile contact

Will kill you

[vocoded] BASED

All human interaction, whether it be social, political, spiritual, sexual or interpersonal

Socieeeeety

Should be contained in the much more safe, much more real

Interior digital space

Technology is about to go crazy

The non-digital world is merely a theatrical space in which on stages and records content

for the much more real, much more vital, digital space

Feeeeel liiiiiike SHIIIIIIII [vocoded] You will live to see man-made horrors beyond your comprehension

You know? Happiness is, for me, a very conformist category

The only way forward is forwards. Nothing exists but what is in front of you. CRAWL.

Oh hi! Thanks for checking in! I’m still a piece of garbage.

And now, edgy memes for Wagner-hating teens.

[German] Ich wollte Sie nur fragen, Herr Žižek

Hey! Hey! Heeeeeeeey!

[German] Gibst es für Sie so etwas auch wie das Ideal der Gelassenheit?

N-n-n-nonononoo nooo noooooooo

Wagner Opern.

Wagner Opern?

WAGNEEEEEEEE—

W W W W W WH WH WH WHY WHY WHY WHY WHY WHY?

[vocoded] Gelassenheit ist, für mich, eine wirklich konformistische Kategorie.

When you ask me this question, this stupid question, you know? If you go to some stupid island, one piece os music that you would take there.

Arnold Schönberg, GURRELIEDER

No! No! You know what’s my tragedy? I’m an old reactionary —sixties reactionary— I think that everything that every happened in rock music, it happened between ’65 and ’75 and that it is just copies, so I’m for forty years returning to classical music.

OK BOOMER

How did this happen? [vocoded] I am cringe, but I am free

Unsere Zeit ist um… [vocoded] Es wurde Zeit

The sun is a deadly laser [vocoded] You will live to see man-made horrors beyond your comprehension

Meanwhile, good sense requires that all of us prepare for any eventuality

[vocoded] Now I am become death, the destroyer of worlds

[Ukrainian] русский корабль, иди нахуй

Today, a young man on acid, realised that all matter is merely energy condensed to a slow vibration, that we are all one consciousness experiencing itself subjectively. There is not such thing as death, life is only a dream and we are the imagination of ourselves

Here’s Tom with the Weather!

If you know, you know.

Vaporwave, deadly lasers and crab raves (2022)

"Ecstasy through mayhem", for String Quartet (Vl. I, Vl. II, Vla., Vc.), 2014-15.

World Premiere on 19/01/2015. Eduardo del Pueyo Concert Hall, Superior Music Conservatory of Aragón (CSMA), Zaragoza, Spain.

Programme notes (Spanish):

Franck Bedrossian define la Distorsión del sonido / Saturación del significado como el sonido que proyecta un exceso de significado y que genera ambigüedades, tanto culturales como emocionales. Para él, "la saturación acústica provoca confusión poética". De una forma similar, he tratado de buscar una gradación en la energía sonora: desde la mayor violencia y complejidad de su química hasta la desnudez y la práctica ausencia de actividad. El título, poéticamente, refleja la búsqueda de una catarsis a través del caos y el exceso. En términos de color luz (RGB), el blanco se consigue al sumar todas las longitudes de onda del espectro, al contrario que en color pigmento (CMYK), en el que el blanco es la ausencia total de color. He buscado el blanco RGB, el negro CMYK y el mundo infinito entre ellos y sus opuestos.

Vl. I: Juan Zalba
Vl. II: Roberto Villalta
Vla.: Carolina Uriz
Vc.: Marco Castrillo

Conductor: Helena Cánovas Parés.

Ecstasy Through Mayhem (2014-15)— Academy for the New Music CSMA

Live recording of "Don't condescend [Don't even disagree]" (2014), for quintet.
"Eduardo del Pueyo" Concert Hall, Superior Music Conservatory of Aragón (Zaragoza, Spain), May the 12th, 2015.

Flute: Marta Gómez Alonso
Bass Clarinet in Bb: Adrián Bartolomé Manzanos
Piano: Carlos Sanchís Aguirre
Violin: Laura Espino Muñoz
Violoncello: Raquel Rivera Novillo
Conductor: Diego Jiménez Tamame

Programme notes (Spanish): 

"Este quinteto se construye a partir de un número limitado de materiales tímbricos fijos o que sufren escasas modificaciones —como si se tratase de colores planos enmarcados en píxels—.
Ideas gestuales de gran intensidad, violencia y energía se entrelazan y se interrelacionan con el objetivo de conseguir un "muro" o "mosaico" sonoro que avanza unidireccionalmente, a pesar de sus fluctuaciones internas. Algunos de los gestos instrumentales empleados reflejan la idea generadora de la pieza: los primeros compases del tema The Nameless, de la gran banda de hardcore-metal de Iowa (EE.UU.): Slipknot. El carácter del tema inspiró mi traducción personal del espíritu visceral y agresivo de la música de los norteamericanos —de la misma manera, uno de los versos de la letra da nombre a la pieza—. La dedicatoria es para el Meitar Ensemble, que la estrenó en Tel Aviv el 31 de mayo de 2014 bajo la dirección de Helena Cánovas Parés".

Video recording: https://www.youtube.com/watch?v=nUlsyz4Xbds

Don't condescend [Don't even disagree] (2014)

Homeostasis

Frostbite

Dark Depths

Live recording of the concert by Ensemble neoN on April 12th at Scandinavia House, New York City.
First concert of MATA Festival 2016

Conductor: Magnus Loddgard

Flute: Yumi Murakami
Bass Clarinet in Bb: Kristine Tjøgersen
Piano: Heloísa Gomes do Amaral
Violin: Karin Hellqvist
Violoncello: Inga Byrkjeland

Programme notes (by Todd Tarantino):

Built from a limited number of scarcely modified musical cells that interact and react, Tamame's work treats its musical materials as pixels, as in a computer-generated image. As pointillist art coalesces into a larger image when granted spatial distance, Tamame's cels, each intense, energetic, violent even, together coalesce into a unified wall of sound that moves forward in a seeming directional narrative. "Seeming" is the important word. Although the instrumentalists unquestioningly move toward a goal, the discourse itself is flat. Tamame writes: "this is a representation of the idea of 'white noise' —even though the sonic nature of the materials bear little resemblance to white noise itself— which while extremely energetic is also the flattest and most homogeneous of them all". "Don't condescend [Don't even disagree]" is dedicated to the Meitar Ensemble, who premiered the work in Tel Aviv.

The New York Times: http://www.nytimes.com/2016/04/14/arts/music/review-on-a-mata-festival-program-burps-belches-paranoia.html?_r=0

New York Classical Review: http://newyorkclassicalreview.com/2016/04/mata-festival-opens-with-energy-and-irreverence/

Video recording: https://www.youtube.com/watch?v=Cbcvs_QBJMw

Don't condescend [Don't even disagree] — Ensemble neoN

This is the first piece in a collection of small electronic pieces made out of a reduced number of intensely processed samples. I consider them a catalogue of short studies which will help me generate the materials for a new piece for Vla., Cl., Pno. and electronics. 
The whole track has been created in Ableton Live 9 and can also be 'performed' live (though I don't deem it necessary) with simple MIDI controllers like a Novation Launchpad S and a KORG nanoKONTROL2.

Each study bears the name of a part of the human body, in a reference to the making of the Frankenstein monster in Mary Shelley's classic. The diverse, heterogeneous and small bits (small samples taken out of my own pieces' recordings)give birth to a new 'monster' and somehow reflect a new musical reality lying underneath.

Frankenstein oder Der moderne Prometheus — I. Der Kopf

Electronic study for a choreography by Ursula Graber.

https://ursulagraber.wordpress.com/

This track should ideally be played through Hi-Fi loudspeakers and at least one subwoofer. Please, use headphones otherwise.

Schwarzer Zittern — für Ursula Graber

"a drop of honey" (2018), for 13 musicians. 

Bass Flute, Bass Clarinet in Bb, Baritone Saxophone, French horn in F, Trumpet in Bb, Trombone, Percussion, Electric Bass Guitar, Piano, 2 Violin, Viola and Violoncello.

Recording from the premiere June the 13th 2018. 
Ensemble für Neue Musik Kunstuniversität Graz. 
Conductor: Edo Micic

13 Juni 2018, Großer Minoritensaal, Graz, Österreich.

a drop of honey (2018) — Ensemble für Neue Musik Kunstuniversität Graz

perforated on a BLⒶCK slate sky — Ensemble Multilatérale

from the invisible made visible — Ensemble Multilatérale

the coming to be, resonating in the echo — Ensemble Multilatérale

BLⒶCK energy burns with fire — Ensemble Multilatérale

to BLⒶCK from BLⒶCK — Ensemble Multilatérale

...and they've got us in their cage, ruined of grace and senses... (2016/17), for Bass Clarinet and Violoncello, after a text by C. Bukowski.

Video recording: https://www.youtube.com/watch?v=09Y5yVM5EGI

Bass Clarinet: Teresa Doblinger
Violoncello: Lucía Pérez Diego

Austrian premiere / Österreichische Uraufführung.

Klassenabend Studierende Clemens Gadenstätter.

MUMUTH Proberaum
Lichtenfelgasse 14, 8010 Graz, Österreich

Program notes (Deutsch):

Das Duo für Cello un Bassklarinette kriegt seinen Namen durch Charles Bukowskis Gedicht und wurde in 2016-2017 komponiert. Jiménez Tamame komponiert das duo ohne den evokatischen Einfluß von Bukowskis Gedicht. Wie auch in dem ganzen Opus den Komponisten ist die suggestive Erweckung von Vorstellungen und Klangerlebnissen nicht präsent. Jiménez Tamame wirft seinen Fokus einzig auf den Klang als ein physikalisches Phänomen, das an sich, seiner Meinung nach, keinen Assoziationen oder Evokationen untergegliedert sein darf. Das Material in diesem Werk bezeichnet der Komponist als "Hybridmaterial" oder "Komplexer Klang", welcher eine hohe Konzentration and Information enthält, die durch mehrere Parameter ihre Gestalt im Laufe des Stückes verändert. Die Methode des Werkes verarbeitet die Parameter durch das Dualitätsprinzip was mit dem Anteil der zwei jeweiligen Extremen arbeitet. Durch di Komposition sind die zwei Instrumente zueinander wie "verlängernde Ansätze" behandelt welche einander projizieren. 

Text by Ivana Petrac.

"...and they've got us in their cage, ruined of grace and senses..." — PPCM

Short electric guitar étude in preparation for a new piece for ensemble and live electronics. 

Listening with headphones is advised.

Jack Étude — Breve omaggio a Fausto Romitelli

Rückstoß / Rückschlag  (2019/20)
für Manuel Alcaraz Clemente

für einen Streichinstrumentalisten / Perkussionisten und einer mit Bogen gespielten Springdrum

(for a solo String instrumentalist / Percussionist with a bowed Springdrum)

Springdrum: Manuel Alcaraz Clemente
Recording, mixing and mastering: Diego Jiménez Tamame
Videography: nbewegtbild

Video: https://www.youtube.com/watch?v=7yDIGW1jU5A

Binaural audio (best with good quality headphones).

Rückstoß/Rückschlag — Manuel Alcaraz Clemente

"Thin Film Interference", for Fl. (Picc., B. Fl.), Cl. (B. Cl.), Sax. (Sop., Bar.), Pno. (Kbrd.), Percussion, Electric Guitar, Vl., Vc. and D.B. with Live electronics in 8 Channel (Max/MSP, Ableton Live)

Geschrieben für das Ensemble Schallfeld mit Unterstützung der SKE Kompositionsförderung

Live recording, premiere concert 20/10/2020
Theater Im Palais — Graz, Österreich.

Conductor: Leonhard Garms

Flute(s): Elisa Azzarà
Clarinet(s): Szilárd Benes
Saxophone(s): Diego García-Pliego García-Muñoz
Piano and Keyboard: Maria Flavia Cerrato
Percussion: Manuel Alcaraz Clemente
Electric Guitar: Alejandro Tentor Viñas
Violin: Lorenzo Derinni
Violoncello: Myriam García Fidalgo
Double Bass: Margarethe Maierhofer-Lischka

Program notes: The optical phenomenon known as Thin Film Interference describes the refractory behavior of light on overlapped thin layers of material. Visual phenomena such as the iridescence of oil on water, nacre from the inside of an oyster, the scales on the wings of moths and butterflies, etc. are explained in this way. This metaphoric artifact works as a model for almost the totality of the dimensions of the piece: construction of harmonic processes, transformation and evolution of timbre, textural operations on density and polyphony, rhythmical structures, to name a few. A second key aspect of the project is the use of real-time electronics (processed with MAX/MSP on a 8 channel circular display around the audience). The system works as a polyphonic granular synthesizer that samples the instruments in real time and processes the sound through complex granulation patterns, generating a shifting, warped perception of the physical space through spatial encoding. Thin film interference is my last attempt to articulate a musical discourse based on relationships o hybridization, both as source of material and as a backbone element of the writing.

"[...] If cosmic horror should have a sound, that one should be [...] It's like a glowing, melting scream" — Claudio Panariello about this piece

Video by nbewegtbild: https://youtu.be/3TxmW7aKhJs

Diego Jiménez Tamame

Pinned to spotlight

Popular tracks