Cuando Voy Por Tierra Extraña 2021 Dedicada Al Maestro Guillermo Graetzer

Logomaquia (2009) for Trumpet, trombone, tuba, percussion & tape
TExt by Nora Iuga. Premiered by KNM. Nov 2009, Buenos Aires.

English translation of the text:
“Ow, it hurts,” said my mouth when I opened my eyes.
 
 
I can’t explain why, but the more our dreams are voided of images and, above all, of events, they begin to reveal to us texts… whether we see them written, or whether we awake saying them out loud; sometimes old words come, sounds soldered by people of old, word-roots from which meanings have sprung – thence, too, utterances – you awake with a phrase from Zarathustra written in Gothic script, a phrase you long ago forgot and which has suddenly come to light just as lava carries to the surface pieces of old rock – I am writing composedly, ordinarily, but this time a sense cried: “Ow, it hurts!” I didn’t open my eyes, beneath my eyelids there was still the remainder of an image, it was unravelling ever more, it was forcing me to gather up the pieces and they stuck together crookedly, they were superimposed, I couldn’t manage to put them back together, they were like tectonic plates always sliding one on top of the other and not for a moment would they stop so that I could fasten them into a static scene. A thick finger with a long fingernail in my white linen panties pressing me hard at the spot from which I pee… when was it?


Logomaquia

En la más ardua oscuridad (2009) for bass clarinet, cello and piano
Premiered in Berlin, April 2009.

En la más ardua oscuridad

La Fuerza Fuerte De Toda Fuerza.2022

Pictures of imaginary windscapes für Sinfonisches Blasorchester

1. Andante pittoresco 
2. Vivace furioso
3. Adagio lamentoso

Deutsche Bläserphilharmonie
Leitung: Walter Ratzek

Windscapes DBP 1

Amarillo Rabioso (1998)

While working on a piece for alto flute commissioned by Mariana Stratta I made some recordings to explore the sound of the instrument and the way I react to it. This is one of them. 
The title refers to the hypnotic quality of the breath that is coming back in waves similar to those we hear facing the sea at night. 

Mantramar

Seven Roses 

Seven Roses or Escenografía sonora a siete poemas de Amy Hosig. 
I always felt that great poetry does not need music. A poem is embodied with a secret sonic and rhythmic material of which a musical setting should be the poem itself hopefully delivered by the voice of the poet him/herself. 

For some years now I had the idea of exploring a new sub-genre of poetry and music that I call “Escenografía sonora” in which music -or rather simply sounds- will function similar to the way lighting functions in a theater piece, that is to say just “illuminating and following” the actor/s.

Motivated by a collection of powerful new paintings by the artist Ann Tracy -who at the same time got inspiration from these poems- I was invited to create music that could accompany both the paintings and the poems. 

Contrary to all the music I have written in the last 20 years that is oriented toward noises and complex sounds this work asked for the purest sounds. For the first time I wrote for the piano as a solo instrument. Both, the poems and the paintings created an abysmal space that I thought could only be manifested in music through the right dynamics and the right tempo, the first giving a sense of remote space and the second a slowness that could bring the perceptual experience of a local eternity.

I asked my dear friend and unique musician Leo Genovese to make the recording of these lines. He found the Eternity in each sound even before I had the chance to suggest that. 

My gratitude to the poet, the painter and the musician.

Seven Roses

En Marzo del año 2006 mientras ensayaba mi ópera La selva interior en Buenos Aires fui invitado por los músicos de la Fernandez Fierro a hacer una improvisación dirigida. La combinación de instrumentos abrió mi apetito sonoro: 4 bandoneones, violín, viola cello, contrabajo y piano. 

La grabación quedó guardada por dos o tres años hasta que en una de las tantas noches frías de Berlin en el 2009 se me ocurrió escuchar lo grabado. La feliz ausencia de la voz del cantante (que me recordaba al cantor de los cien barrios porteños, Alberto Castillo) me hizo pensar en agregar un texto que -dicho desde la voz de un sabihondo de esos que abundan en Buenos Aires- diera una clase magistral sobre la poesía del tango. Encontré el texto justo en una página de la red y la grabé con el típico tono del sabihondo de café. Luego sumé la voz a las texturas instrumentales.

Sabihondo

Stelios Mihas-Marcelo Toledo Duo
Teatro, No. No Theater:
Verticality
Suspension of Time
Resonances
A Japanese feeling 
Absence of Theater
Absence of Action
Empty Mind


Cuando Voy Por Tierra Extraña 2021 Dedicada Al Maestro Guillermo Graetzer

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