Fractal Guitar Trio (https://linktr.ee/fractal_guitar_trio): Miguel Ángel Rivera, Raúl Rocha, Ramón Hernández Mendiola
Registro audiovisual: Rodrigo Villaseñor
Gravação realizada no Piso 16 - Laboratorio de Iniciativas Culturales da UNAM em maio de 2023 como resultado do Prêmio Ibermúsicas de Composição e Estreia de Obra 2022.
Partitura: https://www.babelscores.com/catalogs/instrumental/7985-teledescante-n-27985
Vídeo: https://www.youtube.com/watch?v=GPQ4WCW-gzY
Spotify: https://open.spotify.com/track/0tSIMlzkMPRuRbSyLj6sro

Teledescante Nº2 (Там, вдали за рекой), per trio di chitarre (2021)

Sounds only produced with my breath and a piece of bamboo. 
Several superimposed such improvisations, no additives.
 
Boorloo (Perth, Western Australia), 26 July 2023.

www.pedroalvarez.info

Piled-up improvisation on Quenas

Resignation : for solo flute (Johanna Selleck)

The Source Within (2006, piano soloist and three instrumental groups).

26 May 2007, Iwaki Auditorium in Melbourne, live broadcast on ABC Classic FM. Piano soloist: Marilyn Nonken, ELISION ensemble conducted by Jean Deroyer.

The Source Within [Marilyn Nonken - p / ELISION Ensemble / Jean Deroyer - cond]

Fragment from 25-min-long improvisation for Quena and live electronics. 
Outcome Unknown - Ellenbrook Arts, Western Australia. 
www.pedroalvarez.info 

Fragment No.1 - Improv Quena March 2025

Studium for solo violin(1970)

Anekumena Concerto for 89 Instruments (1974)

"Kioloik" for flute (2012)

Alicja Molitorys – flute

The title of the piece is a neologism that symbolizes only palindromes of the rhythmic layer, cyclicality of pitch organization and articulation by its characteristic arrangement of letters. The structural inspiration of the work is a complex, symmetrical sequence of numbers, different for each parameter. This work is also a study of extended instrumental techniques, e.g. lip pizzicato, tongue frame, aeolian sounds, key clicks, glissando or microtones.

Commissioned by ZAiKS the Polish Society of Authors and Composers.

Kioloik (2012)

In 1975, I discovered, in an anthology of mediaeval philosophy, two very interesting, interrelated texts. The first of these was an extract from Boethius’ commentary on Porphyry’s "Isagoge", itself a gloss on a fragment of Aristotle’s Categories, while the second, from Peter Abelard’s "Logica ingredientibus", took the exegetical process a stage further.  These two increasingly detailed commentaries on an original text seemed to me to illustrate perfectly the survival from ancient times to the Renaissance of a specific philosophical tradition.  I was fascinated by the impression they created of, on the one hand, an enviable and unassailable continuity, and, on the other, of increasing sterility and authoritarianism (not to mention futility, as the Aristotle text may not, in any case, be genuine).  Furthermore, the texts suggested to me the possibility of a musical counterpart, in the shape of simultaneous layers of commentary on a basic 'text', which I conceived as a pre-existing piece of music, most likely Renaissance vocal polyphony.  It seemed obvious that the piece should be for large string orchestra. Interestingly, the scoring I eventually chose was influenced by that of Richard Strauss’s Metamorphosen, rather than by either of the two well-known pieces for string orchestra by earlier British composers, Vaughan William’s "Fantasia on a Theme by Thomas Tallis" and Tippet’s "Fantasia Concertante on a Theme of Corelli".     

I had initially wanted to base the piece on Easter Responsories by the early Baroque composer Marco da Gagliano. However, unsatisfied by the preliminary sketches I made using this material, I considered various alternatives, eventually selecting William Byrd’s motet "Emendemus in melius" (1575). I was influenced in my choice by the fact that Tudor church music was the great love of my then partner, the late Deborah Roberts, to whom the piece is dedicated . I was also attracted by the motet’s exhortatory text (“Let us change for the better”) and by its simple yet suggestive structure: it is in twelve sections, each of which moves seamlessly from homophony to polyphony.  The first four return to homophony, but from the fifth section onwards polyphony begins to predominate, until the four final sections are overwhelmingly polyphonic.  The local movement within sections and the overall tendency towards polyphony seemed to contain implications for the two levels of commentary I had decided upon.  Similarly, Byrd’s division of the twelve sections into three groups of four suggested a large-scale form of three major sections (all of which, I decided, would end with a coda, each longer and more fully scored than the one before).

Having decided on the Byrd motet, I began work on the piece towards the end of 1981, while studying with Brian Ferneyhough at the Musikhochschule, Freiburg-im-Breisgau. I finished it in January 1984. 

In 1982, I visited the ancient Roman city of Heraculaneum, near Naples and was struck by the way that the three clearly defined layers created by the Roman city, the older part of the town of Ercolano on top of a cliff high above and the modern city further back, seemed both a parallel to and a justification of my conception.

"Music for 25 Solo Strings"  was first performed  on 20th February 1986 at St. Johns, Smith Square, London by the London Chamber Symphony, conducted by Odaline de la Martinez.

A more comprehensive exploration of "Music for 25 Solo Strings" can be found in my book "Fragile Continuities" (Vision Edition, 2022).

Epitomaria-Glosaria-Commentaria: Music for 25 Solo Strings

Avesan - they flowed - (2020) flute, clarinet, violin, viola, violoncello, percussion & amplification 

Duration - 12” 

Commissioned by the 32nd Kraków International Composers Festival

Avesan: They Flowed (excerpt)

ostatni utwór Tomka / the last piece by Tomek - 25.01.2021

The Source Within [Marilyn Nonken - p / ELISION Ensemble / Jean Deroyer - cond]

Dominik Karski